dome, 74. Church of Sant’Andrea di Ponte Molle, 86–89 (cuts); dome, 86; façade, 86–88 (cut), 92, 101; likeness to the Pantheon, 87; entablature, 89 (cut). Church of San Biagio, entablature, 78 (cut). Church of Santa Maria della Pace, cloister arcade, 119. Church of St. Paul outside the wall, entablature, 30^1. The Tempietto, 44–46 (cut); the dome and its drum, 44, 74; resemblance to the temple of Vesta, 44, 45; orders, 45, 83; dome of St. Paul’s, London, recalls, 239. Arch of Septimius Severus used as model of façades by Alberti, 38, 39–43 (cut); treatment of angle in, 79. Arch of the Silversmiths, 39. Arch of Titus, scheme of, used by Sansovino in the Loggetta of the Campanile, Venice, 123. Basilica of Maxentius, columns and arches, 37; as model for St. Peter’s, 49. Baths of Caracalla, entablature, 29. Pantheon, 10, 15^1, 87; said to be taken as model for dome of Florence cathedral, 16; grandeur of, 23; as model for Bramante’s dome of St. Peter’s, 49, 52 (cuts); its internal character, 52^1; abutments, 49 (cut), 52; not a homogeneous structure, 89. Porta Maggiore, form of column similar to that claimed by De l’Orme as his own invention, 205. Temple of Peace. _See_ Basilica of Maxentius. Theatre of Marcellus, its façade followed by Sansovino for the library of St. Mark’s, 122. Palazzo Cancelleria, façade, 112–114 (cut); window openings, north Italian, 112, 149; podium introduced beneath each order, 112; spacing of the columns of the order, 112, 114; projecting bays at each end, 113; portal of almost Greek purity of design, 114; court, 114. Palazzo Farnese, 116–118; window openings framed by structural members without structural meaning, 116, 117 (cut); removal of entablature between ressauts over window openings, 117 (cut); court, treatment of columns, 118. Palazzo Girand Torlonia, 112; window opening, north Italian, 112, 149. Palazzo Massimi, façade described, 114–116 (cut); wall above basement unbroken by pilasters or string courses, 114; portico, 114, 115; spacing of columns and pilasters of basement, 114; window openings, 115. Ronsard, his poem on Lescot cited, 196. Roof, timber, built over early domes, 10, 11. Rossellino, his use of the orders in the Duomo of Pienza, 42, 43; his work on the basilica of St. Peter, Rome, 47. Ruptures, in the dome of Florence cathedral, 23, 24; in the dome of St. Peter’s, Rome, 59, 60–63 (cut); not necessarily alarming in a properly constructed vault, 62^2. Rustication of masonry, 109.