Renaissance architecture, in England, 216–246 (cuts); Elizabethan art, 216–225 (cuts); its best features were of native growth out of the mediæval feudal castle and the latest phase of perpendicular Gothic, 216, 225; use of classic details, 217, 218–225 (cuts); flimsiness of material in interiors and ornamental details, 217, 218; buildings have little foreign character in plan and outline, but neo-classic forms are confined to ornamentation, 218, 221; strange aberrations of design wrought by foreigners and native craftsmen, 218–225 (cuts); fantastic gables features of the more showy architecture, 220; Flemish and Dutch ornamental workers, 220, 224; the design and execution of the buildings were performed by building craftsmen, 224, 225. Work of Jones and Wren, 226–246 (plate and cuts); use of classic details becoming established, 226, 228; acceptance of neo-classic style by the people, 228, 232, 233. Renaissance architecture, Florentine; church architecture, 26–43 (cuts); palace architecture, 102–111 (cuts and plate). _See_ also Renaissance architecture and Florence. Renaissance architecture, in France, early, 179–193 (cuts); the French Renaissance château, conditions which gave rise to, 180; evolved from the feudal castle of the Middle Ages, 180, 201; factitious in composition, 179, 181, 211^3; distorted neo-classic details worked into a pseudo-Gothic scheme, 184, 190; a survival of later Gothic habit of design is shown where the continuity of upright lines is obtained in the use of superimposed pilasters with ressauts in the entablatures, 188, 190; has a distinctly French expression, 179, 193, 194; later French Renaissance given a more marked neo-classic dress by Lescot and De l’Orme, 194–215; misuse of structural forms in ornamentation, 199; excessive profusion of ornament, 200; church architecture, Gothic structural forms largely entwined with a misapplication of classic details, 213–215. Renaissance architecture, Lombard, 135, 136–149; neo-classic influences confined largely to ornamental details, 136; illogical scheme of openings which became characteristic of, 144–149 (cuts). Renaissance architecture, North Italian, profusion of ornament a marked characteristic of, 136; Lombard Romanesque forms modified by neo-classic features mark the character of, 144; church architecture of the, 135–153 (cuts); mixture of mediæval and pseudo-classic forms, 149; palace architecture of the, 154–166 (cuts); later architecture of the, based on the art of Palladio and Vignola, 165. _See_ Renaissance architecture.