Rome, its monuments the inspiration of Renaissance architecture, 3, 43, 247. St. Peter’s, rebuilding and demolishing of the old basilica, 47; work of Rossellino, 47; work of Bramante, 47–53 (cuts), 63, 64, 70; date of the beginning of building, 47; general plan, 47, 53, 66 (cut); the plans of Raphael and Peruzzi, 47^2; work of Michael Angelo, 54–65 (cuts), 66; work of Maderna, 66, 245; short-sighted admiration of, 71; design of Antonio San Gallo, 71; influence of, seen in other churches, 90, 92; arabesque on door-valves, 170 (cut); Wren’s scheme for St. Paul’s based on the model of, 236, 237; comparison of, with St. Paul’s, 236, 239, 241, 243, 245. Dome, 44–65 (cuts); use of the Pantheon and the Basilica of Maxentius as models, 49–52 (cuts); drum, 50 (cut), 53; abutments, 50 (cut), 53; colonnade, 51, 56, 142; lantern, 52; piers, 53, 66, 68; buttresses, 53 (cut), 55, 56, 59; design of Michael Angelo, 53–65 (cuts); his alterations of Bramante’s scheme, 53–55, 64; attic, 54 (cut); vault shells, 54 (cut), 55; ribs, 55, 56, 59; binding chains, 59, 60, 62; ruptures in, 59, 60–63 (cut), 64; mathematicians’ report of the condition of the structure in 1742, 60 (cut); violation of laws of stability in, 64, 65; strengthening of Bramante’s work, 64^1; its beauty exaggerated, 65; likeness of Wren’s scheme of St. Paul’s to, 236. Exterior, 68–70 (cut); makeshifts necessitated by the use of the colossal order, 68–70 (cut); aisle walls carried to the height of the clerestory, 68, 245; domes over the aisles, 68–70 (cut), 245. Interior, Bramante’s scheme, 53, 66; Michael Angelo’s work, 53, 66–70; piers, 53, 66, 68; effect of magnitude dwarfed by the colossal order, 53, 67, 68; great size of the structural parts, 68; part of the vault hidden by the cornice, 68, 92; its ornamentation a cheap deception, 71; ressauts, 90, 92. Church of the Gesù, 91–95 (cuts); Vignola’s plan given in his book on the Five Orders, 92; interior, general scheme, 92; orders, 92; entablature, 92; façade, 92–95 (cuts); broken pediments of, 93, 95; scroll work and hermæ, 93; reversed consoles, 95; tablets, 95 (cut). Church of Sant’Agostino, 72–74 (cuts); its architects, 72; date, 72; the general style is Rhenish Romanesque, 72; nave, 72; Renaissance ornamental details, 72 (cut); façade, 73, 74 (cut); truncated pediment, 74; tablets in wall surface, 74;