Pavia, Church of the Certosa, general description of façade, 136–137; Lombard Romanesque forms with pseudo-classic elements engrafted on them, 137; window openings, 137 (cut). Church of San Pietro in Cielo d’Oro, portal framed by structural members without structural meaning, 148 (cut). Pazzi, Chapel of the. _See_ Florence. Pediment, breaking of the, 93–95 (cut), 117 (cut); one placed within another, 95 (cut); of Baalbek, 95 (cut). Pellegrini, Palazzo Brera, Milan, 166. Perugia, domestic architecture, 102. Church of S. Bernardino, general description of façade, 135 (plate); affords a rare instance of the use of colour in Renaissance architecture, 135. Peruzzi, Baldassare, his plan for St. Peter’s, Rome, 47^2; Palazzo Massimi, Rome, 114–116 (cut). Piers, pierced transversely and longitudinally, 38, 39, 150 (cuts); ch. of Santissima Annunziatta, Arezzo, 83 (cut); ch. of San Lorenzo, Florence, 34 (cut); château of Blois, France, polygonal staircase tower, 190 (cut); ch. of Sant’Andrea of Mantua, 38, 39 (plate); ch. of Sant’Agostino, Rome, alternate system, 72; St. Peter’s, Rome, 53, 66, 68; Todi, 75, 76 (cut); ch. of San Giorgio Maggiore, Venice, 97, 98 (cut); ch. of St. Mark, Venice, 150 (cut); ch. of San Salvatore, Venice, 151 (cut). Pietra Santa, Giacomo da, said to have built the ch. of Sant’Agostino, Rome, 72. Pilaster strips, form proper decoration for mediæval structures, 29, 82. Pilasters, coupling of, 31; use of, in the treatment of the angles of buildings, 78–81 (cut); the panelling of, 160; of Kirby Hall, England, support nothing but miniature pedestals, 219; portico of the chapel of the Pazzi, 31 (cut); façade of Santa Maria Novella, Florence, 37, 38; National Museum, Florence, meaningless and artificial design in carving, 173 (cut); château of Azay le Rideau, France, combination of pseudo-Gothic and neo-classic forms, 186 (cut); façade of ch. of Sant’Andrea of Mantua, 41 (cut); San Biagio, Montepulciano, use of, on the angles in interior, 78 (cut); Palazzo Contarini, Venice, grouping of those of three different proportions and magnitudes, 161 (cut). Pisa cathedral, dome, 12. Pisan Romanesque architecture, of façade of Santa Maria Novella, Florence, 37. Poleni, _Memorie Istoriche delle Gran Cupola del Tempio Vaticano_, 59^3; his strengthening of the dome of St. Peter’s, 62, 63; quoted on poor work of Bramante, 64. Pollaiuolo, Simione, called Il Cronaca, court and cornice of Palazzo Strozzi, Florence, 106. Pontoise, church of St. Maclou, remarkable Renaissance north portal, 214.