upper story, 123, 130. Loggetta of the Campanile, 123. Scuola di San Marco, description of façade, 156–158 (cut); portal, described, unreason of its composition, 156 (cut); carvings, 157. Scuola di San Rocco, façade described, 158 (cut); portal, 159; window openings with mediæval features and others with pseudo-Corinthian colonnettes, 159 (cut), 160. The Zecca, form of column claimed by De l’Orme as his own invention, 205. Verona, church of San Zeno, porch and portal, 146 (cut). Palazzo Bevilacqua, description of façade, 126, 127 (cut). Palazzo Canalla, 126. Palazzo del Consiglio, 163 (plate); presents a mediæval broletto scheme dressed out in Renaissance details, 163; in respect to its finest qualities it belongs to the Middle Ages, 163. Palazzo Pompei alla Vittoria, 126. Porta del Palio, description of façades, 125 (cut), 126. Vicenza, Town hall portico by Palladio, 130–132 (cut); use of free-standing columns under the archivolts, 130; columns of the great orders act somewhat as buttresses, 131. Palazzo Colleone-Porta, 133. Palazzo Porta-Barbarano, 133. Palazzo Valmarano, 133. Loggia Bernarda, 133 (cut). Vignola, _I Cinque Ordini d’Architettura_, 84, 85, 92; entablature which he calls his own invention, 85 (cut); his unclassic and incongruous combinations, 86, 95; eliminates mediæval forms, 92; tablet from, 95 (cut); great influence of his writings, 248; ch. of Sant’Andrea di Ponte Molle, Rome, 86–89 (cuts), 92; ch. of Santa Maria degli Angeli, Assisi, 89; ch. of the Gesù, Rome, 91–95 (cuts); Palazzo Caprarola, near Viterbo, 128. Violette-le-Duc, _S. V. Château_, 171^1, 181^1; _Entretiens sur l’Architecture_, 207^3; quoted on French architects of the Renaissance, 179^1; quoted on château of Chambord, 191; quoted on De l’Orme, 200^1; his genius more scientific than artistic, 200^1; quoted on the château of Charleval, 211, 212; errs in his reasoning in his discourse on Renaissance architecture, 211–213. Villani, quoted, 2. Villari, cited, 3^1. Viterbo, Palazzo Caprarola, near Viterbo, general description of, 128–130; a source of inspiration to later architects of trans-alpine Renaissance, 130. Vitruvius, 85; quoted on the orders, 86; taken by Palladio as his master, 96, 97; later Renaissance architects based their practice on the writings of, 119; cited on meaningless Roman ornamental designs, 170^1; notion that the Ionic order was designed after female proportions, derived from, 207^1.