Salamanca, cathedral of, dome, how it approaches and differs in nature from a Gothic vault, 57–59 (cuts). San Gallo, Antonio, the elder, 90; his work on ch. of San Biagio, Montepulciano, Rome, 78–83; ch. of Santissima Annunziatta, Arezzo, 83. San Gallo, Antonio, the younger, his design for St. Peter’s, Rome, 71; Palazzo Farnese, Rome, 116. San Gallo, Giuliano da, designed Palazzo Gondi, Florence, 107, 176; leafage of capital, 176 (cut). San Giovanni, Florence Baptistery, 14, 16. Sanmichele, Porta del Palio, Verona, 125 (cut); Palazzo Canalla, Verona, 126; Palazzo Pompei alla Vittoria, Verona, 126; Palazzo Bevilacqua, Verona, 126, 127 (cut). Sansovino (Jacopo Tatti), his predilection for classic forms, 119, 120; library of St. Mark, Venice, 121 (cut), 130; his attempt to make half the metope fall at the end of the frieze, 121, 122; small free-standing column placed on each side of the pier to bear the archivolt, often spoken of as an invention of, 123, 130, 131 (cut); Loggetta of the Campanile, Venice, 123; his use of a form of column claimed by De l’Orme as his own invention, 205. Scaffolding said to have been employed by Brunelleschi, 21^3. Scamozzi, 133, 134; peculiar form of compound window, sometimes called his invention, 134 (cut). Scrollwork, of façade of the ch. of the Gesù, Rome, 93. Sculpture, on buildings, has in Gothic art only an appropriate architectural character, and a high degree of excellence in the development of form, 167; Greek, is in a measure independent of the building on which it is placed, 167; of the human figure in Renaissance art, has little proper architectural character, 167; relief carving of the Renaissance, 167–178 (cuts). _See_ Carving, architectural, of the Renaissance. Sebastiano, architect of ch. of Sant’Agostino, Rome, 72. Serlio, _Regole Generali di Architettura di Sebastiano Serlio_, 44^2, 196^2; cited on the work of Bramante on St. Peter’s, Rome, 47^2, 49; quoted on corner pilasters, 79; cited on the removal of the entablature between the ressauts, 117 (cut); influence on Lescot, 196; his column practically the same as that claimed by De l’Orme as his own invention, 203 (cut). Sgrilli, _Descrizione e Studj dell’Insigne Fabbrica di S. Maria del Fiore_, quoted, 23. Siena, Palazzo Pubblico, 102. Soane Museum, John Thorpe’s drawings, 218^2, 221. Spavento, church of San Salvatore, Venice, 150. Spire, Gothic, far removed from anything proper to classic composition, 83. Steeples, Wren’s, 246; are the outcome of the Renaissance spire-like towers, 82. Strozzi, Filippo, 110.