Stucco, use in Renaissance architecture, 32, 132, 133. Syria, St. Simeon Stylites, use of the free-standing column under the archivolts, 131 (cut); Basilica of Shakka, form of window opening reproduced in architecture of the Renaissance, 134. Tablets, rectangular in façade surface, 74; ugly shapes of, in the façade of The Gesù, Rome, 95 (cut); of Vignola, 95 (cut). Tatti, Jacopo. _See_ Sansovino. Thorpe, John, his plans show a French influence, 218, 220; little is known of him, 218^2; Kirby Hall, England, 218–220 (cuts); Longford Castle, 221. Thrust, the, of a dome, 15^1, 24, 52. Ties, wooden used in Gothic buildings, 22^2. Tivoli, temple of Vesta, resemblance of the Tempietto, Rome, to, 44, 45 (cut). Todi, church of Santa Maria della Consolazione, 74–77 (cuts); the scheme is Byzantine, 74, 77; dome, 74, 75, 77; interior, 75 (cut); orders, 75–77 (cut); piers, 75, 76; exterior, 77 (cut); similarity between the sacristy of San Satiro, of Milan, and, 140; between cath. of Como and, 144. Towers, spire-like, of the Renaissance, 81; scheme based on the Lombard Romanesque tower and the mediæval campanile, 82; of ch. of San Biagio at Montepulciano, 78, 81 (cuts); of ch. of Santo Spirito, Florence, 81, 82 (cut); Giotto’s, 82. Triglyph, problem of the arrangement of, at the end of the frieze, 121, 122 (cuts). Triumphal arch used as a model of Renaissance façades, 38, 39–43 (cuts). Vanvitelli, his placing of binding chains around the dome of St. Peter’s, Rome, 62. Variety, unmeaning, different from that which results from an active inventive spirit, 211^1. Vasari, _Le Opere di Giorgio Vasari_ quoted, 16; cited on Brunelleschi’s account of the dome of Florence, 18^1, 22^1; cited, 33^1, 110; cited on Alberti’s work, 35, 44, 107; cited on rebuilding St. Peter’s, Rome, 47; his short-sighted admiration of St. Peter’s, 71; quoted on Michelozzi, 105, 149; cited on the Palazzo Strozzi, Florence, 106. Vault, Gothic, why a dome cannot have the character of a, 20, 21, 56–59 (cuts). Vaults, the nature of the construction of a circular-celled vault on Gothic principles, 56–59 (cuts); of the chapel of the Pazzi, Florence, 27, 28, 56; ch. of San Spirito, Florence, 34; chapel of St. Peter Martyr, ch. of Sant’Eustorgio, Milan, 142. Venetian Renaissance. _See_ Renaissance, Venetian.