Porches, church of San Zeno of Verona, a model from which an illogical form of Renaissance portal is derived, 146 (cut); Cranborn Manor-House, England, illustrates Elizabethan neo-classic ornamentation, 221, 222 (cut); Kirby Hall, England, 220; resemble Louvre pavilions, 220. Portals, from Serlio, in which the entablature is removed between the ressauts, 117, 118 (cut); illogical use of arch and entablature in the portals of north Italy, 144, 145 (cuts); illogical Renaissance portal derived from the porch of San Zeno of Verona, 146 (cut); unreason of Renaissance portals compared with those of Greek or Gothic art, 156; of cath. of Como, illogical use of arch and entablature, 144, 145 (cut), 149; Stanway House (England) gatehouse, neo-classic features, 223; Wollaton Hall, England, illustrates Elizabethan neo-classic ornamentation, 224 (cut); ch. of Santa Maria Novella, Florence, 36 (cut), 41; château of Azay le Rideau, France, neo-classic details worked into a pseudo-Gothic scheme, 184; château of Chenonceaux, France, Flamboyant and neo-classic forms combined, 188 (cut); ch. of San Pietro in Cielo d’Oro, Pavia, 148 (cut); Palazzo Cancelleria, Rome, of almost Greek purity of design, 114; Scuola di San Marco, Venice, 156 (cut); Porta del Palio, Verona, 125 (cut). Portico, château of Écouen, the order of a Roman temple is produced without admixture of mediæval details or Italian corruptions, 192. Raphael, plans for St. Peter’s, Rome, 47^2. Ravenna, ch. of San Vitale mentioned, 140. Relief carving of the Renaissance, _see_ Carving, Architectural, of the Renaissance. Renaissance, conditions of, 1; intellectual movement in, 2, 8; neo-pagan revival in, 2, 8; its spirit as manifested in its fine arts, 3, 4, 6, 8; its architects were sculptors and painters, 6; art of painting in, 7.