ANDREA

HIS
LIFE

PALLADIO
AND WORKS

BY

BANISTER

F.

FLETCHER

A.R.I.B.A., ARCHITECT

LECTURER

ON

ARCHITECTURE
ON

AT

THE

ARCHITECTURAL
AND FORMERLY

ASSOCIATION; LECTURER
TITE AT

UNIVERSITY ICING'S

EXTENSION

LECTURER

ARCHITECTURE;
R.I.B.A. GODWIN

COLLEGE,

LONDON;

BURSAR, 1896;
PAST

1893;

MEDALLIST.
OF THE

1895; ESSAY

MEDALLIST,

VICE-PRESIDENT
ASSOCIATION

ARCHITECTURAL

LONDON GEORGE
BELL 1902

AND

SONS

\i

KJft

to

CH1SWICK

PRESS:

CHARLES

WHITTINGHAM

AND

CO.

TOOKS

COURT,

CHANCERY

LANE,

LONDON.

FOREWORDS

MANY
write but it has authentic interest After
to

attempts
the been details the
a

have this
to

been

made architect from life

at

various the of

times

to

life of difficult of

great

of any

Renaissance,
these
sources

glean

his

daily

which

might

prove

of

general
and

reader. careful
to

long
am

consideration with Paolo

of that whose

these
no one

graphies, biohas

inclined
a

agree than

Calvi,1
Gualdo,
of

ever

written Gualdo

better
was

one

father
"

Nicolo Vicenza many

"

contemporary
He
must

Palladio,

living
have

at

at

the

same

time. of of
to

consequently
accurate

had
garding re-

opportunities
the incidents

acquiring
his life ;
as

information much held in the

same

holding

position

in

regard

Palladio

Manetti Paolo

regard

to

Brunelleschi,
work is does

though
from the of

unfortunately
notes

Gualdo his father which

(whose
at

compiled
not

taken detailed

by
account

the

time)

give
the life

same

Manetti

furnishes

of

the

great
the

Brunelleschi.

Furthermore,
Gualdo

knowing
and
statements

high

position
I
am

held
in

by
favour
some

the of of

family,
his

their

great
with

integrity,
all

accepting
the

confidence,
is

and

information I
am

found also work3

in
to

his

book

therefore

given
whose with

here.2

indebted

Vittoria

Barichella,
me

excellent,

though
1

brief,
G. A.

has

furnished

interesting

Calvi, Gualdo,
"

P.,

"

Bibl.

degli
di
A.

Scrittori,"
Palladio."

Vicenza, Montanari,

1772.

Paolo,
Palladio

"Vita
e

Padoua,

1749.

'

Andrea

la

sua

Scuola,"

Lonigo,

1880.

vi and

FOREWORDS careful of Palladio's for laid his

matter,

displays a
an

study

methods,
and

together with
will be found

ardent other

admiration authors

genius
and

personality. Among
Bertotti work should

under

contribution Octave

Temanza,1

Magrini,2Todeschini,3
latter's learned of
our a

Scamozzi.4
a as

This labour

and rich

important
reward, and

is indeed rank

deserving guide
to

the

best

master's

designs.
been,

Bertotti's in the

measurements

of the various in this work.

to

buildings have
complete

main, followed
endeavoured
which

I have
sources

append
has been

list of all the if

from

information has the

been

derived, but
I offer

by

oversight a name apology. Though

any life
are

omitted of Andrea and

my

sincere

details

Palladio's
cannot

private
affect his
to

not

of
we

paramount
should

importance,

great work,
a

nevertheless

have

been

glad

learn
tributed conwe

few

more

of the
to

episodes and
in

early influences
his
us
"

which

the

development
handed of

of his character.
to to

However, labour, there

in his

can

but

rejoicethat
and those

regard
down

life's
not

is

ample testimony
writings
but in the

only
on

own

the various

authors
to

the
us

subject,
of his

edifices

which

still remain

remind

of opinion among is much diversity great -genius. There thenticity the various authors, including Bertotti, regarding the auof many do
not

of the

designs reputed
the reader load the

to

be

his, but

we

purpose

wearying
nor are

with unnecessarily
text

these notes, footand

controversies,
which but
1

yet
in

to

with

complex

many the
di A.

instances mind.
Palladio."

mere

pedagogy,

serve

to

confuse
T.,
" "

Many

of Palladio's

original

Temanza,

Vita

Venezia, Palese, 1778. Palladio," 1845.

A.

Magrini, A.,

Memorie

intorno
"

la vita di A.

Todeschini, Prof. Guiseppe,

Parere

sulla

sepoltura del

Palladio,del

Agosto," 1844.
4

(MSS.

nella

Bertoliana.)
Batimens
et les

Scamozzi,

O. B., " Les

Desseins

ideA. Palladio, recueillis

et

illustres," 4 vols.,with

Vicence, plates,

1796.

FOREWORDS

vii

drawings
R.

and where Duke

designs they
of but

are

at

present

in

the

library

of of

the his

I.B.A.,
the

were

deposited by permission
A

Grace man's and

to

Devonshire. prove
To

perusal
to

of the

this

great

life cannot the

of interest, both the architect

was

architect
so,

student.

it is the

especially

because
new

Palladio, without

doubt,
still holds
To

registrar of
the of

the

architecture, which

first
we

position, especially
owe

in

regard

to

civil

buildings.

him

art

the

fully developed English Renaissance, Jones, Wren,

this
our

as

introduced whose

by Inigo
grace the

Chambers

and and the

are

others also

edifices

great
and

city,
of and

found

throughout
fine

length
of
to

breadth

land, displaying that

of detail,
manner so

tion percep-

proportion vulgarity
of

purity
Baroco

markedly opposed
affected

the

the

by

some

of in

the the
our

continental architecture climate To the

as

architects. of the

There

is

also

sobriety
with

England,
national
our

harmonizing
taste.
career
"

well

both

and

student
*

author's
us,
a man

forms of
mean

an

example
"

of
can

how,

Leoni

informs

extraction

by
one

force of

of natural the

inclination,
men

aided

by application, become
honoured

greatest
and which

of
to

his

day, creating an
life. Hall
to

reputation,
that
I
art
am

leaving
he
to

posterity ennobling
his Hamilton for

examples
assistance

of

to

devoted Mrs. in

indebted up

in of

looking

authorities for

regard

details
text

of

the

life

Palladio, and

help

in revision

of the

generally.
F. Fletcher.

Banister
29, New Bridge

Street,
E.C.

London,
1 "

Architecture

of Andrea

Palladio," translated

by Leoni, London,

1742.

Note.
"

In

regard

to

the

measurements

referring

to

ings, build-

etc.,

throughout

the

volume,

have

reduced

all

these

to

English

feet,

but
on

the

illustrations

taken

from

Palladio's

and

Bertotti's

books,

they

refer

to

the

Vicenza

foot.

An

English

foot

is

to

the

Vicenza

foot
as i

ft.

if

in.

is

to

foot,
i so

that

by

adding

one-seventh

to
a

measurement

in

Vicentine

feet,
we

obtain

the

equivalent

in

English

feet.

LIST
CHAPTER

OF

CONTENTS

I.

Birth

and

Parentage
....

II. III. IV.

Manhood
Palladio Public

and

Environment
an

5
12
.

as

Architect

Buildings
. . . . .

21

Bridges
The

22
......

Basilica Vicenza

(Palazzo
.....

della

Ragione)

at

26

The The The

Teatro Theatre Monument

Porto

Olimpico
at

at

Vicenza

31 37

Parma
to

the

Conte

Leonardo 37
39

V.

Town

Houses The The The House The The The

The

Palazzo Palazzo Palazzo for Palazzo Palazzo Palazzo Casa

Town

Chiericati Thiene Valmarana

.

40
42

44

Signor

Guioglio
.

Capra
.

47 47 5o 52 53

Barbarano Porto
....

del del

Consiglio

Diavolo

Other

Houses,
.....

whose

authorship

is 55 59

doubtful VI. Country The

House House

Houses Villa
at at

Capra
....

61 for

Bagnolo
La Frata

the the

Conti Nobile

Pisani Fran

64

for

cisco

Badoero
....

64

LIST

OF

CONTENTS
page

:hapter

VI.

Country House Zeno

Houses
at

"

continued. for the Nobile Marco

Casalto
.......

65
for the
....

House and House

at Gambarare

Nobili

Nicolo

Luigi
at

de Maser

Foscari for
.....

65 Monsignore
66

the

Daniele House
at

Barbero

Montagnana
.....

for the Nobile

cisco Fran-

Pisano House
at

67
for

Piombino Cornaro
.....

the

Nobile 68

Giorgio
House House House
at at
at

Morocco

for Leonardo for Leonardo for

the

Mocenigo
Emo
.

68

Panzolo Final
......

69

Nobile

Biagio 69
Girolamo

Sarraceno House
at

Ghizzole
......

for

Signor

Ragona
House
at at

70
for the Conte for

Pogliana
Liziera

Pogliana
Giovanni
. .

70

House

Signor
. .

Francesco House and House

at

Valmarana Meledo for the Conti

Trissini
...

71

Francesco 72 Marco 72

Ludovico
at

Campiglia
......

for

Signor
Conti
....

Repeta
House
at

Cigogna

for the

Eduardo

and House

Teodoro
at

Thiene for the Conte Giacomo

73

Angarano Quinto
.......

Angarano
House Thiene House Godi
at Lonedo at

73 for the Conte Ottavo'

74
for

Signor

Girolamo

de'

75

LIST
CHAPTER

OF

CONTENTS
PAGE

xi

VI.

Country House

Houses
at

"

continued.

Santa

Sophia
.....

for the

Conte

Marc

Antonio House
at

Sarego
La

75
Conte Annibale

Miga
......

for the

Sarego
Other VII. Houses

76
attributed
to

Palladio
.

76
81

/Churches
II S.

Redentore,

Venice
....

83
Venice
. .

Giorgio Maggiore,
at

85 87
. . .

Church Church Church Facade Venice

Maser
. .

of of
of

S. Le S.

Lucia,

Venice
...

88 88
. .

Zitelle, Venice
Francesca della

Vigna,
89

Design

for

the

Facade

of

S.

Petronio,
90

Bologna
Convent VIII. Literary The
to

of Works

La

Carita, Venice
. .

93 94

and

Drawings
. .

Proportions
Palladio

of

the

Orders

according
97

.....

The of The
of

Various Palladio's

Editions Works

and

Translations 104

Burlington-Devonshire
Palladio's Family
of

Collection 106
. . .

Drawings
and

IX. X.

Palladio's The

Declining Palladio
and

Days
His

i i i

Influence School

116

Bibliography

129

LIST

OF

ILLUSTRATIONS

Indicates

that

the

illustration

is

taken 1742.

from

"

The

Architecture

of

A.

Palladio,"

by

Giacomo
that

Leoni,
the

London,
is

f
Desseins

Indicates de

illustration Octave

taken Bertotti

from

"

Les

Batimens

et

les

Andre unmarked

Palladio,
are

par

Scamozzi,

Vicenza,

1796."

Those

reproduced

from

photographs.
PAGE

i.

Portrait

of

Palladio,
BY

by

Paolo

Veronese,
6

ENGRAVED

PlCART

2.

-f

The

Basilica Vicenza. Plan

(Palazzo

della

Ragione),
16

3. 4.

fTuR
f
The The floor

Basilica, Basilica,
Basilica,

Vicenza. Vicenza. Vicenza.

Side

Elevation
.

18

Transverse

Section. the first

26

5.

Loggia

on

28
........

6.

The

Basilica,
Piazza
........

Vicenza.

General

view

from 28

7.

The

Basilica,
Ionic orders

Vicenza.
to

Details

of

Doric

and
28

facade
.....

8.

Arco

di

Trionfo,

Vicenza.

Plan.

Elevation.

Section
.......

30 30 Vicenza. Vicenza. Plan

. .

9.
10.

Arco

di

Trionfo

'I-Teatro
Teatro Interior

Olimpico, Olimpico,

32 view of

11.

General

.......

34

xiv

LIST

OF

ILLUSTRATIONS
PAGE

12.

Teatro

Olimpico,
scene

Vicenza.
.....

View

of central

part of
13. Monument *fin

to

the

Conte Vicenza

Leonardo
.

Porto,

S.

Lorenzo,
to the

14.

f Monument
Vicenza.

Conte
....

Leonardo

Porto,

Details

15.

The

Palazzo

Municipale,
Palladio
....

Brescia.

Window

dressingsby
16. 17. 18. 19.
20. 21.
* *

Palazzo Palazzo

Chiericati,
Thiene
.....

Vicenza

Palazzo -jPalazzo Palazzo Palazzo

Valmarana, Valmarana,
Barbarano, Porto,

Vicenza. Vicenza Vicenza Detail

Plan
.

Vicenza.

of

yard Court.

22.

Palazzo

Porto,
del

Vicenza Vicenza Vicenza

23.

Palazzo
The

Consiglio,
of

24. 25.

House Villa

Palladio,

"J-The

Capra Plan
.

(the
.

"Rotonda")
...

near

Vicenza.

26. 27. 28.

The -j-

Villa Villa

Capra,

near near near

Vicenza. Vicenza. Vicenza.

Elevation. Section General

i'-THE
The

Capra,
Capra,
........

Villa

view 29.
The -jof

Villa
Treviso. Villa Treviso.
at

Giacomelli,
Plan

at

Maser,

Province

....

30.

The
of

Giacomelli,
General

at

Maser,

Province

view
. . . .

31. 32.

House

Meledo

f II
Il
Il -jIl -j-

Redentore, Redentore, Redentore,

Venice. Venice. Venice. Venice.

Plan
Front

33. 34.

view
.

Front Section

Elevation
.

35.

Redentore,

LIST

OF

ILLUSTRATIONS

xv

PAGE

36. fS.
37. S.

Giorgio Giorgio
view
........

Maggiore, Maggiore,

Venice.

Plan
. .

84

Venice.

Interior

84
Venice.
at

38.
39.

S. Giorgio
The
of

Maggiore,
Giacomelli

General

view.

84

Villa Treviso.

Maser,
of the

Province Gardens 86

General

view

and 40.
The

Church
Villa

Giacomelli

at

Maser.

View

of
88

Church 41.

f S.

Petronio,
for the

Bologna.

Palladio's
.....

third

sign de90

facade
Bologna.

42.

S.

Petronio,
for the

Palladio's
.....

fourth

sign de92

facade
of

43.

*The

Five
Palladio.

Orders General
Order.
.

Architecture

after

proportions

...

96
of

44.

*The

Doric

Proportions
. . .

capital
.

and 45.
*

entablature Doric Order.

.......

98
98

The
on

Arcade

with

half columns

pedestals
Ionic

46.

*The

Order.
.......

General

proportions
with

of

a 100

colonnade 47.
*

The
on

Ionic

Order.
.......

Arcade

half columns
100

pedestals
Ionic

48.

The

Order.

Details

of

capitalshowing
....

settingout
49.
*

of volute, etc. Order. Detail

.....

102

The

Ionic upper

of entablature

and
102

part of column
Order.

50.

*The

Corinthian of
a

General
.....

tions propor104

colonnade Order. Arcade

. . .

51.

*The

Corinthian

with
.

half .104 of 106

.

columns

on

pedestals
Order.

52.

The

Corinthian and

Details

of base of arcade

columns

pedestal and

impost

xvi

LIST

OF

ILLUSTRATIONS

PAGE

53.

*The

Corinthian and

Order.

Details of column
.

of

lature entab.106
.

upper

part
Order.

54.

The of

Composite colonnade

General

proportions
108
.

55.

*The

Composite columns

Order.

Arcade

with

half 108

on

pedestals
.....

56.

*The

Composite and

Order.

Details of column
.

of

lature entab-

upper

part

.110
.

ANDREA

PALLADIO

CHAPTER

BIRTH

AND

PARENTAGE

OF
exists We Paolo
1

the

early by

life
some

and
as

parentage
the of
Newton
an

of

Andrea of

Palladio

scribed (dethere

architecture)
character. the born

but

scant

information all his him

are

authentic with been

find

that

biographers,
as

exception
in

of

Gualdo,
These

describe
statements

having
in all

the

year upon

518.

probability
who,
as

based
in

the

authority

of

Bernardino
in

Licinio,
gave
us

painting

Andrea's Paolo thus is

no

portrait
Gualdo,

1541,

his that

age he

twenty-three.
born in

however,
him

informs
ten

was

1508,
there but

making
further that
di

just

years of

older. this

Unfortunately
We and
can

confirmation in Calvi's

statement.

remark
"

opinion
Palladio
"

^ualdo's
2

short

interesting
from
a

Vita

Andrea
at

was

probably
father friend Nicolo of work of Andrea of
our

written

notes

taken

the

time also
a

by

his

Gualdo,
master.
enters

contemporary
This small

and

personal

and

unpretentious
life
an

most

thoroughly
Gualdo

into

the
to

and

work

Palladio.

belonged

illustrious

family
of the

Vicenza,

who

distinguished
to

themselves

by

love

arts, and
to

it is easy both father

imagine
1

the

frequent
Angiolo

opportunities
da p.
II.

given
"

Calvi,

P.,

"

Gabriella
vii. A.

S.

Maria."

Bibl.

degli Scrittori,"

Vicenza,
'

Mosca,

1772,

chapter
"Vita di

Gualdo,

Paolo,

Palladio."
B

Montanari,

Padoua,

1749.

ANDREA

PALLADIO Palladio 1553, received

was

and

son

of the

conversing with
son,

in these
a

days.
of the Tasso He he he

Paolo

Gualdo,
scientists Cardinal

born

in and

friend his house

great
and took

of the

day,

in

Castagna,
and
was

afterwards selected and all

Pope
for honours.
was

Urban

VII.

holy orders,
declined Padoua and the in

but high office, When of his

humbly
died, in

mitre

1621, his funeral

lie in the

worthy
the this

great merits,
his this
are name

his remains Palladio's

Cathedral him of of the

there.
name

parents gave
the festival that in

of

Andrea,

as

birth
name

fell
was

near

popular saint, and

one

preceded by
was

Giovanni,

which

we

informed

hereditary
the

family.1
one

This

latter and

prefixed to
by
a

generally known
any
was

of

Andrea,
existed

used

Magrini, dispels
certain in and Giovanni his who creation

doubt

which
to

regarding
assisted
our

supposed
the Basilica

have
at

master

of

Vicenza. of
an

Both

Arnaldi the

Temanza,2

deceived
"

by

the
.

error

official of per

who wrote, registry, magistrum Johannen et

to

Designum
Andream

presentatum

Palladium Temanza architect of Udine and for the have

Vicentinos,"

endeavoured him which

to

discover
;

this Giovanni.

imagined
the Palace is also of

be
was

Scamozzi substituted

Arnaldi, the
for the Giovanni
to

of

Castle

(who
a

supposed to have are Palladio). We

Palladio's and died his in

been

Fontana

master

indebted
name

Magrini
appears
at

discoveryof
been

father,whose

to

Pietro,
he

occupation
1545.

that

of

mason

Vicenza, where

"Andreas

Paladio in

quondam
documents,

Petri," is the
but this in

signature continuallyrepeated
itself does
not

prove,

as

some

writers

believe, that
Marcolini, 1555,

Pietro

Doninamo,
discorso

Seconda
"

ed. libreria,
Delle

2a,

Venezia,
e

P- ISS-

Arnaldi, Enea,

basiliche

antiche

specialmente
xiii.

di

quella
"Vita

di
di

Vicenza,
A.

Vicenza," Vendramini,
290.

1769, capo

Temanza,

Palladio," citata,p.

BIRTH without
a a

AND

PARENTAGE

3
a
l

was

family
to

name.

Bertotti, in
in Lonedo
"

list of accounts
a

for
to

building
sum

Conte

Godi

found

reference

of six livres of

paid

to

Messer

Andrea
to

architect,on
prove
to

the 26th

august
did
not

1540."
at

This

appeared
possess with
a

many but

that Andrea
as

this time also

family name,
his basis

in the

same

list he

appears

family name,
of

"presente

Andrea is and

Paladio

quondam
a

Petri," the
one.

this induction Both

name

by

no

means

solid
us

Beni

Scotta from his

inform

that Andrea

derived there is

his
no
2

of Palladio

patron, Trissino, but

this
statement

authentic

information that

regarding
he
as some

; Gualdo

maintaining
of
an a

Andrea's

acquaintance
had

with
a

Trissino

was

much age

later he

date, when
describes

become

sculptor, at

which much

"convenient."

Though

we

should

like to know the various

success

of the circumstances and

of his
tributed conare

boyhood, and
to

influences

episodes which
these

his

in after years,

nevertheless

but

of minor All
we are

importance.

privileged to
"

learn

is from

Palladio's

own

statement

in

due He

primi
tells

libri dell'
us

architettura,dedica

al

Conte love
a

Angarano."
and natural read the

that he for

earlypossesseda great
that,
as

inclination

architecture, and
and

boy, he

Caesar's

"Commentaries,"
over

imagined

and

designed

bridge
Gualdo

the

Rhine

from
over

Caesar's the

written

afterwards description,
near

utilizingthis
mentions which he that

Bacchiglione,
also

Vicenza.

Palladio
an

seriously
part
is corroborated

studied of
an

mathematics,
architect's

considered humble
as

essential

education. describes
del 1540

His him
de

birth
"

by Leoni,3 who
1

of

mean

extraction,"
quale
il

Rogito

de

Settembre

notaio, B. Massaria, nel

Palladio, etc.
2

Gualdo, P., "Vita

"Architecture of

di A. A.

Palladio," Padoua,

1749.
notes

Palladio," by Leoni, with

by Inigo Jones,

1742.

ANDREA

PALLADIO

adding
reward

"

that

in consideration honours and he did

of his his into

to

and great abilities,

as

for the
same,

native the

city,he
of the his when

was

made

free of the But this

received
came

body

nobility."
fame
was

honour

only

Palladio of

established thus and

we

throughout
to
us

the his

whole

northern
was a

Italy.
studious education
mason

It is
one,
was

evident

that

early
a

life

naturally infer
upon all him

that his

most

excellent

conferred who in

by

faithful

father, the
much of
to masters

Pietro,
his son's
names

probability sacrificed
to not

secure

future, intrusting him

we

the know.

care

whose

unfortunately
The

do

days
in

of
ones.

Palladio's But
a

youth (and
very few his started of

those

preceding it)
his birth in

were

eventful

years
career

before
as a

Savonarola, Florence,
as a

1482, had
on

preacher
alas read

and
at

the the Leo's

23rd

May,

1498,

was,
we

! burnt

heretic of

stake. tiara

Later, in 1521,

of

the

jewels
and
was

Pope
this

being pledged
St.

to

pay

his

debts,

about
master

time, too, the

works of

great Raphael of Urbino Peter, and

(who

of the of

general superintendent
the ancient

Antiquities) made
He

plans
our

to

exploit
studied
a

works the the

of Rome. of

also, like
and

master,
down

diligently
of the and

writings

Vitruvius,
it into
was

laid

ground-plan
Then
came

city,dividing
Rome valuable and

fourteen

regions.
the
:

siege, when
so

sacked,

Pope

imprisoned,

many

lives

sacrificed the formed

at

Goritz, Colocco,

Cesi,
others.
in in

Calvi, Baldus,

Valeriani
to

historian, among
the

Antiquity
every branch

seems

have

principal study
Brunelleschi

of

learning
in Vasari

this

time, and
Michael

Florence,
Leon Leoni

Alberti and the

Tuscany,
all

Angelo,
in their

Perucci, respective

excelled

writings on

subject.

CHAPTER

II

MANHOOD

AND

ENVIRONMENT

WHEN
no

we

next at

discover but

Palladio of his
to

he

is

youthful
we

sculptor
information. for that

Vicenza,
appears,

precise
have he
was

age
soon

have

He of

however,
to

deserted
so

sculpture
meanwhile His
master

architecture,
the works it

which of

devoted Alberti. Giovanni

also
at

studying
this

Vitruvius
was

and

time,
of Palladio the

is

believed,

Fontana,
which
to

the later

architect years and

grand
was

palace

of

Udine,
In

upon

in

also also San

engaged.
doubtless Gallo and in

addition the
;

Vitruvius of of whom

Alberti,

Andrea

studied

works all the

Michelozzi,
were

Cronaca,

Mangelli
favour of

Cinque-Cento

Florentines,

Renaissance. It
was

Palladio's with
a

good

fortune
to not

to

be

born

in the
to

an

age of him

pregnant
the also

restless
;

ambition therefore

continue

work find

Renaissance fired with and

it

is

surprising
of his time. before

the

prevailing
efforts the

spirit
a

Brunelhad

leschi's the

great

original
to to

century
of

given
had
couraged en-

necessary many

impetus
others distinctive

art

building, example
the
;

and with

follow

his

results of

displaying
the middle In

departure

from

architecture

ages. the of of the fifteenth

this,
schools
:

century,
the

were

formed

the Roman

three and his Santo

great
Venetian

architecture,

Florentine,
was

first, Brunelleschi
the dome of

the

master,

greatest

works

being

the

Cathedral,

ANDREA the Pitti Palace.

PALLADIO Baccio Pentelli had

Spiritoand
built two Renaissance.
as

In

Rome,

palaces,both
Bramante St.

considered
of Urbino

good examples
will also Peruzzi
as

of Roman

be the

remembered architect of of the

the

designerof

Peter's,and
Later

the

Villa

Farnesina.

Sansovino,

the

master

Venetian which the

School, built the

Carlton Palace Club of this is

Library
a

of St.

Mark,

Venice also

(of
the

modified

copy),and
which his

magnificent
sumptuous
When Andrea
was

the

Procuratie,
in time

Palladio the
most

especiallyeulogizes ;

being
the of age Licinio.

opinion

edifice built

since

of the

ancients.

thirty-three years painted by

restoration

(inGualdo's
At this and the

computation)
time he
was

beginning the
arcades
"

of the Basilica describes

surrounding
:

at Vicenza.

Temanza1

the

thus portrait that

Face
a

dark,

eyes

vivacious, dress

rich, his appearance

Licinio
was

of the of

genius."

This

painting

of

formerly in
is
now

possession of George Smith,

our

Esq.,
In

and

in

one

Royal galleries. Many

one

engravings possessed
"

of

this

portrait
with in the Gian of

exist, including
custom

at

Vicenza.

accordance
a

of

the

times whom

Palladio he

patron
the he

Giorgio Trissino,
our

describes

as

ornament

age."
in

It

was

with when

this he

patron
was,

that

first visited
to

Rome

1541,

according
age. This

Gualdo's appear of tecture, archiPaolo been

as

chronology, thirty-three years

somewhat but Gualdo
to

of his
as

would

late
we

to

commence

practical study
a

must

accept it
At any

fact

if

we

take have

be

correct.

rate, Palladio
his visit in his
to

must

exceedingly industrious drawings

Trissino
an

during

Rome,
treatise

his

of
was

the
a man

classic

buildings
and Later

of wealth architect. this

many
we

testify. accomplishments ;
Palladio fully faithof restoration

orator, poet and

find

carrying out
1

patron'splans
di A.

for the

Temanza,

S., "Vita

Palladio," Venezia, 1778.

I.

PALLADIO.
ENGRAVED
BY

FROM

PORTRAIT

BV

I'AOLO

VERONESE,

PICART.

MANHOOD the Palazzo work. Trissino We

AND

ENVIRONMENT constituted
at various

7
his first

at

Criccoli,which

known

also find that

he visited in

periods
Nimes.

Ancona,
In

Rimini, Naples, Capua, Pola

we

Istria,and

May, 1547,
and him he nine

also hear

of his

visitingTivoli, Palestrina,
in

Porto with which for the

Albano,

returning to
"

Vicenza

July, and
dai
In

taking
Goti,"
he is

books, entitled
to

L'ltalia

liberata

presented
time

Ciro,
Rome,

son
"

of Trissino. in the company

1551

third

in

of Venetian

Gentlemen."1 We in these there her

was

read

of

no

patronage
the

being
or

extended of
Rome.

to

our

master

days by
spent

Pope

nobles

His the

time of

in earnest edifices ;
a

researches time of hard

among

ruins

temples and
and
to

labour, of measuring
he has handed

minutely
down He
measure

the theorizing, his

I

results

of which

posterityin
us

valuable with

writings on
the
utmost

architecture. accuracy
I became
to
so

tells

that,

"

began
of

every
an

minute examiner kind is

and part by itself,

indeed

scrupulous
and very
out

them,

not

discoveringthat
the
not
once

thing any-

of this the finest

performed
to

without
I

justestreason
but
even

proportion, that journeys

I

afterwards,

often, took
of

several able
must

parts of Italy and

such have needs

it, that
what

might

be

from

fragments
been, and
an

to to

comprehend
make

the whole

draughts accordingly.
worthy
of
a man

thought
for the

this that

taking underwas

who

considers

he

not

born

for himself his

only, but
in

likewise ancient many

good
doubt

of others."2 Palladio

During
came

stay

the with

city
of the have

no

often and

in contact
must

great artists of the

derived
own

day,
to

in

consequence

additional
as

knowledge, thereby strengthening his

the
true
manner.

convictions upon the

Here
di A.

he

could

gaze

great

Gualdo, P., Vita

2

"

Palladio," Montanari,
A.

Padoua,

1749,

p. 8.

"

Le

antichita

di

Roma,"

Palladio, 1565, Venice.

ANDREA of the Bramante

PALLADIO and of St. and

achievements progress direction work

on

Raphael
Peter also
see

could the

study

the

of

cupola
Palazzo

under this

masterly
he also

of Michael the

Angelo,
dei

great master's
Here had

Conservatori. and San Gallo

might
years of

wander before di
to

where
see

Angelo
the Laocoon back few
to

wandered

disinterred gaze upon ancient

in the it in the

vineyard gardens
Rome still

Felis

Fredi, and

of the remained

Vatican.
at

Very
this the

of the The

gloriesof
St.

time.

four St.

gates, however,
wherein

stood, those
St.

of

Rotunda,

Adriano,
the

Cosino, and
the

Agnes
in

; the

finest of all

being by
of

Rotunda,

ancients metal

endeavoured which the

to imitate

art that kind

of Corinthian

colour

gold prevailed. Letarouilly

us

(in
hall
to

"Rome
was

Moderne,"

Paris, 1840) informs

built
an

that in the

while

Palladio of

measuring here, he hospital of

in Rome. gay with
was

altar

long
his

the

S.

Spirito, the
and but

only

work

of Leo with
rust

be

seen was

In

these

days, under

Pope

X.,
an

Rome

music

laughter; bright surely effacing the

on

influence

which

slowly
so

of

barbaritywhich
ages, them and

had

long

remained which

the
so

surface

of the bound
was

loosening
to

the The

fetters

had
over

long
and

in indolence. the

long night was

dawn of the

Art

awakening
Palladio's restoration 1540,
In
we

glorious
Palazzo

later
to

Renaissance. been the

first

recognized work designing

work
on

appears
at

have

of the hear he
was

Trissino the

Criccoli. Palace Palace

at

Later, in
Lonedo.

of his
at

Godi Public

1547
II

the

at

Udine,
to

called have the

Castello, begun
his
on

by

Giovanni
to

Fontana,
Palladio della

stated

been
screens

master.

In

1545
of

1549 Sala

designed
at

three
one as

sides

the

Ragione
of

Vicenza, this being

gusson addition

of his
an a

greatest achievements.

Feran

quotes
of this

this
sort

almost Gothic

unique example

to

building having proved

MANHOOD success.1 As

AND Palladio's

ENVIRONMENT works treated

as

9 in the
as

are

ing followwill

chapters and
permit, a
mention

illustrations treatise that is

given,
his

far

space We

detailed

superfluous here.
churches that

might
to

broadly
at

among
in

of II Re-

dentore

Venice, built
beautiful
In

1578, is generallyconceded

be the most and

of his

designs; combining
his

both

grace of the

simplicity.
Palace
at

regard to
is

palaces,the

facade The
our

Thiene

at Vicenza

exceedingly fine.
was

Olympic
master's

Theatre, also
last and
to
see

Vicenza, built of stone,

finest effort ;

unfortunately he
death

was

not

privileged
temporaries con-

its

completion, for living in

intervened.
at this time
are

Palladio's mentioned

Vicenza

by
the

him,2
or

"

numbered
is
our

among

the most

illustrious Gian Marc Fabie

(whether blood
and Eliode add Adrian Belli that of

learning
of

were considered),

Giorgio Trissino,

ornament

age

; the Counts

Antony
Monza,
We
a

di Thiene

Antenor

Pagello

and

Oliviera,Barbarano, and
the theatre the
"

many

others."

might

at Vicenza

was
"

inaugurated by
of

performance

Oedipus Tyrannus
Palladio's

Sophocles.3
find and very mation inforinteresting painters of his day. he

In

writings we
the he

regarding

architects

Especiallydoes
painterand
We

eulogize Vasari,
of

whom

styles "a

architect

great merit."
made of

also find mention

Sansovino, accompanied
as

by

much

praise of
of the

the

buildings erected by him,

was

already
the read first of

mentioned.

Sansovino

born From in

at

the

end

of
we

century
his

Renaissance. where

Florence
course

migrating to Venice,
the
new

of time

he introduced
at

style.
was

Another Bacio

architect

remaining
here

this he

time

in Florence

d'Agnolo,

and

in 1520
etc.

J. Fergusson,
"

"

History
"

of Architecture

in all

Countries," 1893,

I quattro libri dell' Architettura," Venezia, 1570. Baedeker's Guide

to

See

Northern
C

Italy."

io

ANDREA the Palazzo

PALLADIO Barbolini
we are

decorated

with told

windows excited
to

and the
a

doors

of

pedimented form,
who passers-by, This
new

which

laughter of genuflexion.
it

in

derision
was

stopped
to

make
we

form in the

of art

remain, for
Palace, and

find also

copiedby
the We

Raphael
maestro,

Pandolfini

by
and

great
also

Michael

Angelo,

in

the

Medici their

Palace.

find later that became

Palladio the

followed

example,
of

it eventually On

principalcharacteristic

his

style.

find other reading the fourth book of his architecture we contemporariesmentioned, amongst these being San Micheli, the great militaryarchitect of the Renaissance, whose special for the arch is evidenced predilection the Palazzi Pompeii, Bevilacqua and
in his works Canossa.
at

Verona,

Magrini
to

discredits
to

the

story regarding Palladio's

work upon St.

journey
is

Rome

in order

undertake

Peter's,as

recorded

by

Paolo
to

Gualdo.

According
which
reserve

Barichella, however,

the

high

esteem
one

in
to

Gualdo's any prove III.

biography
esteem

is

held this

would

dispose
which
was

opinion refuting
the

statement,
our

if true held

would Paul

in which

architect

by
on

Unfortunately, according to Gualdo,

Rome found have the

Palladio the

arriving in'
turmoil, and
The this

Pope
a

dead

and

city

in

this must

been

great disappointment.
deal of space
are

biographers
of the

of Palladio
summons

give a good
to

to
no

incident

Rome.

There

documents Vicenza which is

forthcoming
during
month the

to

prove

that

Palladio

remained
to

in

days occupied
to

in this

journey

Rome,
1549,

supposed
the

have

taken of Paul

place

in

November,

in which An with

death of
at

III. occurred. of expenses which

at

examination the Basilica Palladio exists

at

the

diary
been
at

in connection work this

not

Vicenza, upon
have

Magrini
time, and

believes which

to

engaged

the

Museo

Vicenza, does

support his

MANHOOD

AND

ENVIRONMENT

assertion Palladio intrusted

It

that
at

the

Pope
the

could

not

possibly
of St.

have

thought having
been

of

this

time,

building

Peter's

to

Michael than

Angelo.
possible
Michael

is

more

that,

occupied
felt the need that the

in

endless of

work

and There
account

of

great
is,
of who

age,

Angelo
every had of

assistance.

therefore,
his had then

probability
attracted

Palladio,
of the

on

genius,
to

attention
to

the

Pope,

think the

probable
year for

successor

great

architect,
This been

in

seventy-fifth
would,
Palladio's but

of this

his

age. have

great
fine

church field for of

misfortune,
in

genius, Angelo,

which,
have

tion conjunc-

with altered the

that

Michael

might

materially

completed
Sansovino,
of the

design.
and San Micheli stand
at out
as

Palladio,
most

the who

prominent
have been

architects with the

living
great

that Michael

time

could

associated there

Angelo
we see no

consequently,
reason

being
doubt upon

no

contrary
the
statement

proof,

to

cast

regarding
by

the Paolo

summons

to

Rome

by

the

Pope

as

chronicled

Gualdo.

CHAPTER

III

PALLADIO

AS

AN

ARCHITECT

HOWEVER
life best many
are

interesting
be,
the
were

the

particulars
which he

of he

our

master's

may in

the

great

lessons which

taught

are

found of

buildings
not

designed. only

Although
so,
we

these in of

carried his
to

out,

or

partially

fortunate

having
are

designs.
be found Venice editions
in
"

Many

these

I quattro

libri book been

dell'

Architettura,"
has

published

in

in

1570,
and

which
lated trans-

passed
into

through
almost

countless

has

every does
not

European
contain
a

language.
all his

Palladio's but
in
to

own

book,

however,
authors include the de Bertotti editions

designs,
list,
and

works
some

by

other

contain

complete
are

instances Of these

designs
volumes

which

only
"

reputed
Batimens
et

be
et

his. les par

four Andre"

entitled

Les

Desseins Octave

Palladio,
"

recueillis

illustrds,
most

Scamozzi of in this
were

are

perhaps

the but

complete.
the best

Many
was

published,
in
over

perhaps
and and
are

published
four follows
;

Vicenza contain
1

1796
200

(in

Italian

French).
divided
at

The
as

volumes
:

plates,

volume
2

contains
3,

the

buildings
erected which in
were

erected the environs erected

Vicenza of Vicenza

volumes
;

and 4,

buildings
churches
in

volume other also

the

at

Venice,
latter

and volume
out.

buildings
contains such makfe
a

different

parts
which material of

of have

Italy.
not

This been

designs
a mass

carried rather

Amongst
to

of

it has

become which

difficult

selection

illustrations

PALLADIO shall be

AS his

AN

ARCHITECT of

13

representativeof
to

methods of
at
our

design,especially
It is
a a

having regard
has idea of In it best been
our

the

limitation the limit

this work.

hoped,
tion selec-

however, that within

made
as

disposal, such
reader
to

will

enable

the

form

good

master's the them

methods.

regard to
to

buildings themselves,
into
:

we

have

thought

divide Public

(a)

buildings and
houses. houses.

bridges.

(b) Town

(c) Country

(d) Churches.
By
more or

this less

method

better

view of

can

be

obtained, in
attempts
Of

consecutive

manner,

Palladio's of

to

solve various

similar methods
must

problems
and be

in

each

type

building.
our

the

proportions adopted by
to
our

master,
on

reference

principally made
about

notes

the

buildingsthemselves.
A

strikingpoint
not

many

of them his
own

lies in the rules

as

fact that the portions pro-

he

was

slavishlybound
classical

by

to

of the Like that

men. a

columns
was

and
an

their entablatures.

many
can

another, he
be above

exemplar
are

of

the

saying

genius
his

rules,which

made

for smaller

In

books, although Palladio

a as

refers

in

detail

to

the left

various
no

parts of

building and
to

their and

proportions,he composition
full of
seems

has

instructions
as a

the

design
he

of

tures struc-

whole.
use

In be

his

of the
no own.

orders

was

resource, to

as

will been

seen,

and

particular
held that he

method

have

peculiarlyhis
It

has

been and

was

in specially

favour

taining of ob-

size
two

dignity in

his

compositions by including
one

storeys of his facadeswithin

order.

This

has

been

14 said with but

to

ANDREA have influenced

PALLADIO

English

architecture
were

in

contrast ;

the the

precepts of Vignola which

fact

followed

in France both his

is,that, as

will be he
was

seen,

Palladio fond

employed
of

methods

equally, while
with

also blocks
an

marking
his

ground storey
his first floor

rusticated

of masonry,

expressing
upper

{piano nobile)by
flat the attic
a

order, and
is to be

(or
that

attic) storey
Palladio Italian

with

pilasters. It

observed used

employed
masters,
to

storey, seldom

by

other

in lieu of many

great crowning

cornice. Palace
at at

According
Criccoli

authorities, his Trissini

and another fame for
to

(see

p.

77),

the

same

family
at

Vicenza,
when
career.

brought

Palladio's

Venice

the

time

Sansovino

(1479- 1570) was

first work della

completing

his

illustrious

Our the

master's

at

Venice

appears

to

have

been The

Conventa
to

Carita,
is formed of which

described of Sir any

an

elsewhere. atrium of Wotton

more

entrance

the

church

immense says
:

Corinthian
"

columns,
hath
never

Henry
been

Mine
or

eye

beheld bricks
cut

columns

of stately in four the

stone
a

marble

; for the

having

first formed into

circular
or

mold, and
more,

then

before

their

burning

quarters

the sides afterwards

so

and join so closely,

jointsconcentre
piece,showing
to
our satisfy

exactly,that
in truth
we

the
want

pillars appear
rather is
art

one

entire

how

than

stuff
but it in

greatest fancy." This

we

quaintly put,
Palladio

serves

to

show, what
the
mean

have

already indicated, viz.,that

with which
was

spite of
to execute

materials

forced

his

greatest designs, the

must

design only impresses composition

been defined and the
on as a
a

the

beholder, which
His
severe

put

the

very
mean

high plane.
between the those

stylein general has

use

of ancient

forms

licentious

styleof
As

who

rejectall

rule whatever.
as

remarked

elsewhere, and

mentioned

by

Milizia

PALLADIO and other

AS

AN of
for Milizia

ARCHITECT the the

15
to

authorities,many
cannot
so

buildings attributed
character remarks any and

Palladio vary it
to
are was

be

by him,

tion propor-

considerably.
a

very

truly that
it the

sufficient for

fabric to possess Palladio's

for superiority for

be

instantly considered
desirous of of

work,
men

vulgar

always
means

honouring great
it. of Palladio's that

and

consider

this the
In

doing
be

regard to
may

the

plans
taken

buildings, speaking
were

it generally,

they

suitable

to

the

they were nobilityfor whom requirements of the Venetian erected. designed on classical lines,the kitchen They were
and other household
or

offices either outside

being

under

the with

principal
them

apartments,
covered The suited
to

in

communication

by
well their
to

colonnades. fact that

our

the

plans

of Palladio's
cannot

houses detract

are

not

present requirements
and convenience when

from

stateliness the age The

to

considered

in relation of in

in which

they
often

were

erected, and
of his

the climate

Italy.

dispositionand
each other
are

proportion

apartments
and of side

regard

exceedingly happy
either

such effective, the vestibules

being placed symmetrically on

and saloons. In farm and the
an

his

country

houses
same

the

Italian of

custom

of

having

the

offices in the of

range

buildingswith
a

the

mansion,

raising the principalfloor

was an

considerable

height above
Palladio taining ob-

ground

effective

arrangement, for it gave

all in of
one

opportunity of combining dignity and

Some critics have
are

composition, and
the ultra

breadth found

grouping.
magnificence
facades;
what men, noblethe
erec-

fault with in
some

and but

displaywhich
here

observed remember
His

of Palladio's
and

again we
they
to
were

must

for whom clients and

were

with

purpose

built.

Venetian

eager

displaytheir

power

positionby

16 tion of

ANDREA

PALLADIO Palladio

grandiose buildings which

columned colonnades. himself Palladio of the

provided

in his

spacious

vestibules, grand staircases, galleries,

libraries,and
availed rightly, noble

eagerly,no
of

doubt, yet

opportunity
made

such satisfying

requirements.
has been

Reference classical columnar

already

to

the
was

use

of

the

orders. and
to not

Palladio's

architecture his

essentially
were

fenestral, and
column with

entablatures

portioned pro;

the

which

they were
the

associated

whereas
an

his

predecessor,Sansovino,
disproportionate
which windows the
two to
are

occasionally employed
column,
in
a as

entablature

at

St.

Mark's
In

Library, in
to

placed
referred

deep
our

frieze.

addition

methods orders the

already
of whole

to,

master

frequently
facade and
or

used

different

scale of

in

the

same

one

comprising
of
case

height
It has

the

building,
one-half
out

the

smaller

subordinate the

"order"
one.

being only
been of

two-thirds in every both

larger

pointed
S.

that

except

that

of the

the
same

facade

Giorgio
This the

Maggiore
Romans work
at

orders the

rise from order

plinth level.
In

of disposition
in

double

had the

been

employed by
his in the Basilica is
as

the

side

porticoesof
del between
in

temples.
orders

own

the
in
a

Palazzo

Capitanio
the the

and
two

the
to
as

difference sixteen
ten

height
and

ten

and

half, while
a

Palazzo

Valmarana

it is

is to twenty Professor

half.
a

Cockerell

magnificence of
this

rightlyattributes Palladio's buildings to

great part of the

the

employment pediment
"In also

of

principle.
Our
master

also had

for great preference and

to

the the
some

central houses

part of the
which
I

principalfacade,
built which in the I have where

says,

all in I

have those

country, and
made in

(very few)

of

towns,

have

always placed a pediment

the chief

entrance

is,

r. n

1M"

2.

THE

BASILICA

(PALAZZO
PLAN.

BELLA

RAGIONE),

VICENZA.

PALLADIO because it makes the

AS

AN

ARCHITECT
to to

i7 the the house

principalentrance
very much This

more

conspicuous, and
and

contributes the

magnificence
the
entrance

grandeur
a

of

building.
over

gives
much
more

facade
reason

great advantage
be made
arms

the

others, as

it must

for that proper

to

higher ; besides, it is
of the
owner

put the

there, and

they

are

generally designs length of

placedin the middle of the pediment." The height of these pediments in our usuallyvary
the horizontal The order
to

master's of the

from

one-fourth

to

one-sixth

cornice.
were

columns

sometimes

placed on
The

pedestals,in
not so,

give
have

additional

height, sometimes
no

the

pedestals often
seem

having
been

plinths.
with

pedestals never
or

to

decorated

panels,sunk
in

raised,
book.

although this feature is so treated Fluting is generallyomitted from the by Palladio, and this was probably due
were

Palladio's
as

columns
to

the fact

designed that they

materials

frequently
were

formed for

of

brick

and

stucco,

which

unsuitable

in long lengths. fluting

knowledge of the details of ancient Roman architecture was extraordinary, yet his inventive genius was find that he repeatedany of his considerable, and we seldom with various designs. On the contrary, his facades abound he obtained of the orders, in addition to which dispositions
Palladio's effect and
contrast

by
the

the
use

judicious use
of arcades.

of His

plain and

cated rustiis

walling and
often excellent
to

rustication

in

character

his
as

design and scale,and gives considerable buildings,not in an excessive way as at

set-off
to

Florence, but
In

his columns and

and

tures. their entablahalls he

two

the

design of
small upper

his arcades

of entrance

appears

to

have

preferred the larger order pilastersplaced behind

embracing
them
to

storeys, with

carry

the floor of the

gallery.
D

In

the

arcades

semicircular

18

ANDREA

PALLADIO

arches

usually rest
the (cf.

on

piers in conjunction with

from the
at

trabeated
favourite
was one

arrangement arrangement
which

adopted

ancient

baths.

Basilica

Vicenza), however,
two

in

he divided

the interval
or a

between with
an

piersin

three

parts
the been

by

small

piers

columns,

arch
seems

only covering
to

central

aperture,
some

combination colonnades of his been

at

which

have

copied from
In the
seems

Diocletian's

palace.
and plicity niches, simafter. aim. ness FewThe

design
to

doors, windows
in

have and

general sought
size
was

in

number

largeness in

his

openings were generallycrowned angular and circular,but these

feature which he he
never

by pediments, alternately
were never

broken these

"

rococo

indulged
Sansovino the

in.

On

pedimented

openings

sculpturedfigures, occasionally placed reclining

or

probably copied from

Palladio divided
In

Michael

Angelo.
Roman window

also

employed lights.
to

semicircular

into three the

entablature but

his

orders effects

we are

find

these

to

be tained, ob-

generally unbroken,
as

happy
the wall

sometimes

at the

the columns Basilica,Vicenza, by projecting face of and

beyond
In

the

main

breaking

the

tures entabla-

around the

these

projections.
he
was

of mouldings profile and friezes

were

careful specially latter the

; the

architraves sometimes and other Interior

generallyplain,the
his cornices
over

being

pulvinated,
ornaments

and

have each

consoles

centred carefully
seems

other. lected neg-

decoration

to
no

have doubt

been
to want

somewhat of funds. of he
to

by
In the

our

master,

owing
church of

regard to his regulation forms

for

designs,instead
heathen
reasons

temples,
to

returning to was probably

the
was

obliged
or

ecclesiastical

keep
The

Basilican
to

Lombard Roman

type of church, and

orders
to

his endeavour
nave,

adapt
con-

the

this

type.

being

DC

PALLADIO than

AS the

AN side of

ARCHITECT

i9
to

siderablyhigher
of
a

aisle,had
tiers of
on a

be

treated

dependen in-

it,and
of columns
an

instead

arches, he adopted
on

single order

placed
roofs in the

plinth or pediment
with

pedestals
over.

and

supporting
of these this

entablature

with marked

The

aisles have

their inclined
are

half

pediments.
to

Types
In

shown
an

illustrations. has of been

our

chapter

endeavour

made master's
a

sketch

few

of the

characteristics principal of been He have

styleand
resume

his chief of these

methods has
not

composition.
made says, had than that the

Perhaps
of

better the

that

given by
all modern

late Mr.

Wyatt
Palladio

Papworth.
seems

architects,
correct

to

best
on

taste, the most

his

ideas, and
Some have

the had

greatest influence
more

contemporaries.
others
in
more

boldness

and

genius,

favourable and

of displayingtheir opportunities

talents

grand
and of

extensive

works, but he has the peculiarglory of having

features edifices
are

mastered

all the

and
in
so

parts of architecture
which

having produced
symmetry
of and

simplicity and
that

beauty,
dantly abunends and

majesty
for

combined,

they

compensate

petty defects, and

fulfil all the

manner

architecture, by effectingthat
which
are more

greatness of
means

unity of design grandeur

These art, but he has
to

powerful
of size
or

of

ing producfully unskil-

than

immensity
before
to

large masses
his studies of

introduced. he had him their

during
few

Roman

by

attention
a

practice and principle,

modifications
as

detail,

formed

style that
is

with

is suited

all

nations, and

probably such
We

the

ancients agree

selves themDr.

might
Aldrich's his
to

have

adopted.
have

shall well examine of his

with

observations, that if we
an

peculiar style,
that
seems

large buildings
be the result

air

grandeur
and

of

volume,
His

proportion
villas

ornament,
the

dictated

by propriety.

speak

themselves

20

ANDREA

PALLADIO

retreats

of

nobility,
and

veiled

but
fabrics

not

hid

if

analogy
to

between

the

human

material be

(much

resorted

by
not

writers

on

architecture)
that of It the

allowable,
effect of well

perhaps
Palladio's dressed.

we

may

unfitly
to

say that

general

edifices

is

similar

personal
is, after
various

dignity
all, in
the

general
that basement of window
our

proportion
master

of

his
most.

buildings

and

their The and

parts
of

pleases
the
to

proportion
the of column attic

to

order wall the

which

it and

ports supthe of

over, to

space, various

relation the

entablature

and

parts

design

are

excellent.

CHAPTER

IV

PUBLIC

BUILDINGS

SOME
and
to

of

Palladio's

town

palaces
considered of

may,
as

on

account

of
we

size pose pro-

importance,
treat

be

public, yet
which
were

in

this

chapter

buildings
however section.

erected tion considera-

for

public
of churches

purpose
to
a

only, leaving
later the divides

the

separate

Palladio his
manner

deals

with and

public
the

aspect

of in

architecture the

in

third
:

book,

subject

following

i.

Streets,
Public

Highways
places (Fora
of

and
or

Bridges. Agora).

2.

3.

Basilicas,
Theatres. Palaestra. the and third
in

Arches

Triumph.

4.

5.
In

main,

he

refers

to

the from

works

of

the

ancients His he

and

quotes
to

illustrates book

largely
shows
to

Vitruvius.

preface
to

this

the

lofty aspect
as

desired
to

inculcate

regard

architecture,

applied

public

edifices,
and than of that

"wherein,

because

they

consist
more

of

larger dimensions,
curious
ornaments

they

are

beautify'd
as

with for
most

private

ones

serving
have
of
a

the

use

and field

conveniency
to

everybody,
the with

princes

ample
and
to

show
are

the nished furtheir

world

greatness
the in

their

souls,

architects demonstrate inventions."

fairest excellent

opportunity
and

own

abilities

surprising

22

ANDREA He then refers in the the

"

PALLADIO

to

fatigueand
the

long watching
examples,
receive in
a

"

he and

has
"

endured that

drawing
lovers the of studious

out

ancient reap

hopes
same,

antiquity may
of

pleasure from
much little

the

and

architecture
more

benefit; especially seeing that much

time and
on a a

is learnt

from

good examples
entire

or

originals, by measuring
with from what all their

of them

by seeing
little admirable

edifices than

parts described
etc.

piece of

paper,

words,"

This
to
us

forms
as

very

exposition of

is known and

the

knowledge-through-the-eye
here. To Palladio the does
streets not

process,

is worth

quoting

and

highways
explains
refers also

designed by himself,
their construction
some

refer,but
He

and

gives
such known

illustrations.
as

to

ancient and other

roads,
well-

the Roman

Flaminian,

Appian,

Aurelian

highways.
to

In

regard

Bridges,
and
our

he

says
a

that

they

should which

be
nicipal mu-

"convenient, beautiful
institutions
to

durable,"
own

recipe in
would

of

time

hardly

appear

believe.

Wooden wooden

Bridges.

"

He

then

refers made book he when utilized without

to

some

ancient
over
"

bridges,and
described refers
to

the

bridge
fourth

by
of

Caesar his

the

Rhine, and
He

in the the my

taries." Commen-

fact that

shows
I

the

design
"

"which

imagined
He the
to

in

youth
says he

first read this

these
a

commentaries."
"

also

design for
The
to

bridge

over

Bacchiglione
Caesar's it.

Vicenza."

reader

is referred

and description,

Palladio's

reconstruction

from

The

Bridge

on

the

Cismone.

"

This

was

erected

by

PUBLIC

BUILDINGS of is
a

23

Palladio, and
the bed of the This and

is

an

example

one

having
by
the

no

supports
at

in

river, which
rendered

hundred

feet wide swiftness

this

point.
stream,

was

necessary timber Conte

a

of the

the force of the

floated Giacomo

down

which by it,
was

damaged
under every used the

the

posts, whereby

Angarano

necessityof renewing
The construction modern in

previouslyexisting bridge
of
a

year. in

is that
for

queen-post

truss

buildings
Three is
are

spans,

between
are

thirty and
then shown

forty feet
and

length.
other
two

other
an

methods

by Palladio, one
the

of which

extension of
an

of the above arched

ciple, prin-

varieties

type.
foot of the signed dethis into

The

Bridge

at

Bassano from

"

place

at

the

Alps separating Italy

a more

Germany.

Here The he of inches

Palladio
stream at

elaborate and 35
30 180

wooden

bridge.

point

was

swift

feet wide.

This
means

divided
rows

five spans

of about each such

row,
a

feet feet

each, by

of

piles,
these feet

eight in being
wide. circular which
at

long

and

18

square,
was

distance

apart that

the

bridge

26

These

posts
as

supported joistslaid
columns into in
a

crossways,
a

while

posts
made
was

Doric

support
way.

simple roof,

the

bridge
French

covered

This

destroyed
the

1748, repaired by Ferracino, again

in 18 13, and in

destroyed by
There
over are

rebuilt
one

by
by

Casarotti.
to

two

more

designs
;

wood,

similar

that

the contain
are

Cismone the

the

other

is

considered

Barichella

to

elements
an

of the

so-called

American

bridges,

which
are so

considered

absolutelymodern days.
discourses four of

invention, and

largelyused
Bridges. which
at

in these

Stone in

"

Palladio he mentions

stone

bridges

general, in

special points,viz.,

the abutments

the

banks, the piers in the river,the arches

24 and
even

ANDREA the He well number

PALLADIO considers because

we

pavement.
"as

the
see

piers should
that
nature

be has

of

an

number,
from

duced pro-

this
one

all those
are

of
men

more

than and

part,

to

bear

things which, consisting the feet of any weight, as

us."
to

all other
an

animals

may

convince be

Such leaves the the

arrangement
middle is of the

is also
river

preferredbecause
obstruction, where
it

it

free from

current

naturally most
would of the lower
"

rapid,and
portion
"

might

be

added

in which The modern that

boats front

naturally be.
of the known piers,
to

engineers as
the
stream
or

starlings
to

or

the "spurs," i.e.,

side that

faces may from

are

be the

made

angular, in
and

order

they
matter

divide

break

water,

prevent floating
still
at

lodging against them.

refers
at to

Palladio in existence the

many time
;

ancient

bridges which
those
over

were

the

notably
built
or

the

Tiber

Rome,
Adrianus the

Elian

bridge,

by
"

the Ponto

Emperor
quattro

Elius

; the

Fabrician

bridge

capi;"
and the remains

Cestian

bridge (or bridge bridge,all

of which Sublician many the
as

of St. existed.

Bartholomew),
There
were

Senators of others

also

the

(alsoLepidan), the Janiculan

others. Danube the in Reference is also stroyed Transylvania, deof the barians. barat

(now
made

'

Ponte
to

Sisto) and bridge

over

the

by Hadrian,
Ariminum,

to

prevent
is

incursions
to

Special prominence
illustrates,is
nearest

given

the

bridge built
This, which
two

probably by Augustus
a

Caesar.

he

five-arched

semicircular
20

type, the
as

arches feet

the
to

banks three

being
central

feet in

span

against 25

given

the

spans.

Bridges

designed

by

Palladio.
was was

"

The

bridge over
as

the he

Bacchiglione at
mentions that

Vicenza

added ancient.

to

by Palladio,
It is
a

part of it

three-arched

PUBLIC
; the

BUILDINGS feet in span, and

25 the central

type
30

side arches The

being 22^
24

feet.

bridge is
Bridge

feet wide.

The

Rialto does
to not

at

Venice.

Palladio

mention specifically

Curiously enough the cityin which this

"

design was
the Rialto

be

built, but

it is evident

it

was

intended carried the

for

not bridge. It was unfortunately present bridgebeing erected in 1 588-1 591 from

out, the

designs of

Antonio that
so

da

Ponte.
sense a

It is to be observed

how

Palladio, with

good

which virtue
"

he
out

seems

to

have

always possessed,
In

often

made

of

necessity.
to

this

design just at
to

he

refers to the fact that very and

the

bridge was
come

be built

the

spot where
treat

the

merchants

together to negotiate
he says,
as

of their

affairs,wherefore
and

well

serve presiderably con-

the

grandeur
to

dignity of
revenues

the of

said the

city as
same,

very
I

increase

the
as

designed
it ; that the sides

the

bridge

so

broad,

to

make

three

streets two

upon
on

in the middle somewhat Thus

largeand
These

fine,and
streets
a

the other
to

less."

were

be lined with

shops.
in
an

Palladio

produced
to

scheme his

which intention

probably gained
of

dignity and
adequate
The
an

importance by
the Retrone

providing
by

return

the merchants

of Venice

for their

outlay.
the
same

bridge over
ancient

at Vicenza

is called

Palladio
over

bridge, and Bacchiglione. He also

at

resembles refers
to

the four

example
others

of the

character

Padua.

Public division and

to

Places of his book

(Fora
Palladio
a

or

Agora).
to

"

In

the

second markets

refers

the

squares,

open be built

places of
around

and city,
:
"

of the
as

edifices which Prince's and

or

ought
Ruler's

them

such

the

Palace, the
and Basilica

Exchequer, Prisons,
(or Courts
of
E

Senate

Council-house

Justice).

26
He

ANDREA

PALLADIO rules the and

gives
of

some

useful
in

as

to

proportion
a

height
somewhat

buildings

relation

to ; and

open he

spaces, also from

subject
to

neglected nowadays
also refers and
to

adverts the

the

to protect people necessity of porticoes

elements. of

He the and

the

Agora
or or

of

the

Greeks, the Fora

of

Romans the

the

Palaestra

places
of

ancient

basilicas of these

courts

public exercise, justice, giving designs

and of others. he justice,
were tions men-

for restorations
In
a

after Vitruvius
or

note

on

the

basilicas

courts

the with which the

were

fact that

whereas those of and

the his

ancient time

basilicas
were over

level

ground,
had inside
at

arches, in
ancient external

placed shops
all.

prisons,and
of his

that while

basilicas
ones or

those porticoes,

day

had

none

The
"

Basilica arcades
Town

(Palazzo
Hall,
a

della

Ragione)
three sides the

at

Vicenza. Gothic

These

surrounding
are

the

of the

Consiglio, or
of Palladio's this

probably
the of

most

important
researches in

works, and
may
to not

glance at
out

previous historyof
From

building
middle divided

be

place.
of two
a

made, it appears
the
one

have
It then

been

of considerable

importance

ages. into

consisted

floors,the upper

two

one

portion being
other
as a

chapel,dedicated justicehall,while
he built

to

St.

Vicenzo, and
floor
was

the used

forming prison.
added
a

the

lower In
1222

Lorenzo

Strazza
a

hall,which
the Vicentine
was

over

five

arches, as
This

meeting place for

centuries later

council

of 400. and read

hall, two
or

damaged by fire,
Then
we

restoration of the
a.d.

rebuildingbecame being
and transformed

necessary. into
a one

whole 1444

grand hall,
two

between

1477.
added

In
one

few

years the

loggie
in
to

(covered arcades) were

Gothic but style,

above

other

the be

shortlyafterwards

this work

proved

s,

PUBLIC

BUILDINGS

27 way. It
now

untrustworthy ;
necessary

the
to

foundations the aid and of of

giving
Spaventa
the

came bewas

seek

architects,and
in

Riccio

engaged
them Sansovino Romano various
so

upon in

it in

1496,
in

1498, both
of

of

being
was

the

service

republic
in 1539

Vicenza. Giulio

consulted

1538, Serlio
were

and

in

1542.

Finally designs
of the
of
a

submitted

by
of

the

architects,by desire
in

Council, and
time

these

were

varied

style,that
excited

weary such
to

the

lost, and
these

the

controversy
were

by
them

competition,
vote
were

designs
each

submitted the many

by
sent

the

and

to

public opinion.
one

Of

in, three
Romano
was

only

chosen,

by
that

Spaventa,
the

Giulio

and

Palladio, with

the

result

latter's

design

against seventeen.
This
in 1550

chosen by ninety-ninevotes finally (Arnaldi, i. chap. 13).

as

is the and from

design

executed, and 1614.

this It
was

it

was

commenced in stone in
a

completed

in

constructed has weathered

a

brought
remarkable which
never

Piovene, and
manner

stone to

and
stucco

gives
information

the
not

building
possess this
"

beauty,
and will

Palladio's attain. is
to

designs
in

do

Much be

about

important
della
"

building

found

Magrini,

II

Palazzo in

Ragione in Vicenza," Vicenza, Burato, 1875; also de celle de Basiliques anciennes, et en particulier
Dissertation Plates It du Conte Ende Arnaldi.

Des

Vicence.
"

Vicence, 1761

(see
the

2, 3, 4, 5,

6, 7).
that Palladio he does
"

is curious

says say

very

little about

Basilica and is

himself, but what

is in his Third is another the

Book,
in

by

no

means

modest. alone it
I have
are

There

of them

Vicenza, of which
the make ancient
most

given
own

draughts, because
; and

porticoes around
no

my

invention
may

this
to

doubt, but that this edifice Fabricks, and

to be

be

compared
the the noblest time

the and the

reckoned erected

among since

beautiful

buildings

of

28 ancients
as

ANDREA well

PALLADIO
of

as

on

account

its

largeness
stone,
utmost

and

ornament

of

its matter, bound hall

which

is all hewn the

extremely hard,
care."
are

join'dand
The 171 feet

togetherwith
which feet wide 68

around

the

arcades

arranged
a

is

long by
roof of
an

(Plate 2).
at
means

It has The

circular semi-

lead, hipped
upper
one

each

end. of arches

ground
upper the

storey supports

by

; the

storey

to

the
see

roof
at
once

being
that of the

about the

70

feet. of the the

to By referring

plan

we

width

arcade

bays
the

is determined

by
surround, storey into
width. could had data. the
3
to to

that

piers of

Gothic interior

hall which of

they
in

these
seven

piers dividing
compartments
measurements

the in

ground
three

length
to

and

With
not

these

(height and width),which

it is easy and
an see

be

departed from,
on a

that

Palladio

decide He

design
each and

controlled

influenced

by

these
to

marked

storey by
to

order, the
upper
one

Doric

ground storey
6);
wall these of back

the Ionic formed

as

the

(seePlates backing
on

and
a

being
to

half

columns,
their

considerable this wall

thickness, and
at

entablature

returned vertical would the

each

column,

thus

giving
round

expression and
have resulted without
to
a

preventingthe squat proportionwhich

the cornices The with
centre

had

been

continued

facade had

break.

of the of the

inter-columnseven

iations

correspond
arches

those

existing
ably considerture entablahad
to

arches, forming the

the

length
on

of the the

hall itself. facade had

to

Furthermore,
be the

height of
less than

any

those

of the

hall proper,
some

because and

of the order be beneath

over

occupied (see Plate pair

of of

depth
A

the arcade
crowns an

this each

4).

statue

the unusual

trade balusand
our

columns,

and

thus

difficult
master.

proportion
It is

bay
the

was

cleverly handled
the space

by

perhaps
that

in the

design of beauty

between

the this

principalcolumns

and

of originality

PUBLIC

BUILDINGS the illustration

a

29

buildingare
it will be
seen

found. that the these

a

By referringto
space main

(Plate3),
is
tained con-

approximating
columns and
as

square lines
of

between
base

vertical

and their

the
tablatures en-

line

of
as

columns

the

underside It is

horizontal of
a

bounding
that which
in

lines. has

particularly
his skill

in his and his

treatment

these

Palladio
to

shown

has
name.

produced
He

motif
filled Plates

this square

day

is known with

by
four in the

has
in

this and 6
3

space
two

columns,

shown

(only
feet 6

showing
from which

elevation) placed
main
a

in

pairs, about
a

inches

piers,these
forced

supporting
In

cornice

from

springs openings. produce

this
a

semicircular

arch.

the

spandrils are
did

circular Palladio

Thus,

by rigid conditions, pointed

in
master out

masterpiece.
It has

been

that

Peruzzi

had

used

same

motif
left to
treatment master

before
our

the
to

Palazzo

Linotta, Rome,
name

but

it

was

give
of he

it his this

for

all time. also shows

The the
as

of

the

angles

building
any

hand. he

Here has

was

without this the

restrictions

to

width, and

decreased
nearer

secondary
main
an

columns
at

to

by placing the coupled piers and by doubling the

or

columns
extra

the

angles (Plate 2) ;
of width appearance is very the of

rather which

by placing
shows
on

angular three-quarter column

diminution

each
of

face. This the columns of the

as

bay
of

and

the

doubling
to

give
is

an

strength
It is the

the
same

angles
other
nearer

facade
seen

which in

pleasing.
of the columns facade.

endeavour Greek

angles
the of
of

Parthenon
are

and

buildings, where together than in the rest

an

brought
Basilica

the

The
a

is such
as

important
detailed
to

creation

Palladio
not

that be

few
of

words

to

its order

proportion
lower feet
8

may

out

place.
half
to
a

The

the
2

storey is Doric,
inches in

consistingof
attached

columns

about

diameter,

30 wall about in
a

ANDREA feet inches

PALLADIO thick. The the columns 8 is

are

diameters
over slightly

height (less 2 inches),and

quarter of the column
to

entablature The

in

height.

smaller the
a same

Doric

free-standingcolumns
the
no

this

storey have

proportionas
base,
doubt
to

but they are larger, the intention in

or

provided with
of

circular

with

preventing
These

ence inconvenicolumns of the

peoplepassing either
cornice, in

out.

small that

have

height

about in the

one-eighth
sheet arch. small The Ionic

columns, of the type shown

From this

of details

(Plate 7).
storey

springs the
with
same a

semicircular

upper

is ornamented

large

and

order, both
a

placed on
the inches in

the

continuous

pedestal about
these latter in here says,

quarter of
2

height of

the

largercolumns,
has

being

feet 3

diameter, and

8f diameters
not

height.
followed
"

Bertotti his
own

refers to the fact that Palladio rules columns

a nor are

those

of

Vitruvius, who
each

that

when

the

placed over
one-sixth.
more

quarter less in diameter

it is is

should be other, the upper one than the lower," whereas in this

case

only
The

The than Ionic

height
one-fifth

of of

the the

Ionic

ture entablaof its this

one

inch

height
in

column. order The

as are

smaller

free-standingcolumns
and
are

of

14^ inches

in diameter

8 diameters

height. plinths
that
on

are capitals

of the Grecian
ones,

type and

have

circular
to

to

the

lower

their cornice about

being

similar of the

the

lower

storey and
The is

one-eighth
the

column

in

height.
to

proportionof
two to
one

height of
crowns

the arched

opening
of the
a

its width

(including the
which the

depth
facade

pedestal). The height of

balustrade of the

has

one-fifth

Ionic

order, without

includingthe

pedestal. This building peculiarcharm

the beautiful it

must

rank possesses

as

Palladio's is also

masterpiece, the

now

largelyenhanced

by

weathering of

the stone.

III
3"

I p,
IS

j4"|

\/f\"t\/i"%/3\ *"fl

Alinari

photo.\
9.
ARCO
UI

TRIONFO,

VICENZA.

PUBLIC The
Arco
at

BUILDINGS This arch

31

di

Trionfo.

"

(Plates

and

9),
in

situated
Madonna the year is
no

the foot of the del

Monte

steps leading to the church

near

of the

Berico,

Vicenza,

was

erected death.
our

fifteen years 1595, i.e., information Bertotti the

as

after Palladio's
to

There master's

authentic
or

whether
to

it is show

work

not.

endeavours formulas the

that

it differs The

from considerably "illustration

laid down

in his book.

will show

general proportions (Plate 9).

Vicenza. This is

The

Teatro

Olimpico

at

"

eood
tecture archi-

example
he
some

of Palladio's and of the

profound knowledge
works of Vitruvius. bound

of classical
In

this

building
the

was

not

in any have

way

by precedent, as
his work
to

suggested by
the
masters

who

only

studied how and

of

superficially.On

contrary, he well

knew

accommodate

principles
to

of classic architecture

the his

precepts of its
own

the
as

special circumstances
stated and and
"

designs ; modifying,
the

by Bertotti, according to need,

of his the

proportions,forms

distribution

parts, and

wisely changing lengths

the classic
at

heights to
Palladio's

requirements."
in of

studies

Rome the for

a

among

ruins, and
must

also his excavations have lines. the how well He

Berga

Theatre
a

Vicenza,
on

equipped
also had

him made

designing by

theatre of

classical

special study
that

Vitruvius, and

elaborate

directions

laid down these

author, indicating

the ancients

planned (and

particularbuildings.
of

When,
founded
one

therefore, the
in 1555

Academy

Vicenza, which
appears
to have

was

of which

Palladio
on

been

of the

moving

decided spirits),

constructinga building
plays
of classic authors

in which

and interesting be

instructive
to

might
as a

given,

it

was on

Palladio, whom

they regarded they naturally

high authority

the

subject,

that

turned.

32 Palladio in his
"

ANDREA is known have

PALLADIO

to
on

helped Signor
Barbero
in

Daniel

Barbero in the
to

Commentaries

Vitruvius." Venice

also states he visited been able

this work
Roman

(published in
remains and from how the

1556)
and

how had

Palladio

he

get information
of the
was a

Berga
still
a

Theatre. Bertotti

At

the

ment commence-

eighteenth century
deal of this modern

mentions

that

there

good
the

the stage, but left, particularly

at
over

the end

of the century site.

It is
on

building had
our

been had

erected

record

that

master

designed
The in

many which

temporary
was

structures

for the the

one Academy, especially

erected Serlio
town

in also of

Basilica

itself
a was

in

1562.
scene

architect wood

had

constructed

theatrical built in

for the of the works

Vicenza, which Porto,

as

in the his

yard courton

Palazzo

mentioned Scamozzi the

notes

Serlio's

by Jean Dominique
Vincenzo

(father of

the

better-known

Scamozzi,
seem

architect). These
a

temporary
amount

erections of

to

have

given

considerable
was

dissatisfaction the
was

and

trouble, and
to

it

at

length
theatre.

decided The work

by

academicians

build

permanent

begun
he
was

on

the

23rd May,
to
see

1580, in Palladio's
its

presence, he died
on

but the

not

destined

completion,
In

for

19th of August
are

of the the

same

year.

gratitude
ated nominand

for his work his

son

we

told
to

that

Olympic Academy
the
was

Silla his

superintend
The it
was

work
not

conceived

planned by
till

father.

theatre named

pleted comentirely

1584, and

"Olympic,"
is

after

the

Academy
does
not

which

founded

it.

It

curious

that

Palladio has the

illustrate

the theatre

in his of

books, but
we

Bertotti illustrate

published complete drawings,

plan, and
and the form also two illustrations leave

which

(Plates 10,
no

n,

12). The
Palladio

plan kept
in of

general distribution
of the Roman
to

doubt

that

theatre,as described
the

by Vitruvius, shape

view, but that owing

peculiarand

restricted

PUBLIC the the variations site, had

BUILDINGS be made
; the

33
most

to

notable the

being
the
at

auditorium, semi-elliptical

which

takes

place of
has been

semicircular
some

plan
to

of

the

Romans. the in
to

Bertotti

pains

inquire into
our

general principlesof
which, owing
to

tion propor-

adopted by
of the of Vitruvius.

master,
had

the

novelty
and

plan, he elliptical
His
warrant

depart from
notice

the

proportions

remarks
a

are

certainly ingenious
here.
at

convincing, and
As

detailed

mentioned induced

above, the shape of the site

many of the

his
were

disposal
carried

may
out.

have The 75

changes
be

which

buildingproper
feet wide. Palladio's

(Plate 10) occupies a

seen

site 123 feet the space

long by
shown proper,

It will thus

that include and

at originally

disposal only
the

does

not

all that the The

in the
as

plan, but
in the

auditorium
11 rooms

stage
extra

shown

plates(Nos.
three

and

12).
to
were

accommodation,
the

including the
the

the

and left,

portions
The

behind

permanent

scene,

acquired
No.

afterwards.

diverging streets,
and perspective, Scamozzi.
We

shown

in

illustration

12,

are

built in architect site

to
a

were

designed and
see

executed
master

by
had

the
a

thus

that that out

as

our

parallelogram in shape, and

an

of this he wished roomy that thus

as

produce
a

auditorium, presumably
The

possible,

and

stage.

form, elliptic circles, was

or

rather upon,

produced by

portions of
novel and for the

three

decided
one

producing a
economical and of

and pleasing result,

an

probably most
desirous
of

seating of

audience

hearing
The of the

The seeingclearly.
and

exact

out setting

is described
10.

by Bertotti, ellipseis
smaller

is shown
out

in the
as

annexed

plan, No.
with
a

first set diameter from the

executed, and

half

of this
same

ellipseas
In

radius,

circle is described
are

centre.

this circle

drawn,
the

at

equal

intervals,four

equilateraltriangles, touching
F

circum-

34 ference the the of the

ANDREA circle.
scene,

PALLADIO The side the of sides

one

triangledetermines
three

face of the

while

of the other

give

position of
in the

the wall

dividingthe audience, placedin rising

The
centres

from tiers,

the sunk
scene are

orchestra. indicated

of the

side openings the bases line drawn circle of

approximately by
at

the

trianglescarried
the
scene

through through

these

points.
of

parallelto
the width

the

centre

the

gives

positionof
of the

the front

of the raised

stage {pulpitmri).The
of the orchestra the
two

opening
the

of this raised the distance

stage and
between and

is found from which

by taking
of the

centres,
off from

ellipseis described,
circle of the is
on

strikingit

the centre The Bertotti

each

side. itself is about

length

scene

70

feet, which
of the

imagines
8

found
to

by adding
18

the

length
(the
feet 3

orchestra, 50 feet
semi-diameter
or as

inches,

feet 7 inches

smaller

of the has

which ellipse),

equals 69
The which

inches,
of the

Palladio
or

it,70 feet 4 inches.

height
should

podium,
scene

continued which

pedestal on

the columns

of the be
one-

rest, and

according to
of the

Vitruvius

twelfth Palladio diameter

part of the diameter

at

orchestra, was

fixed

by

feet,which

is one-fifteenth

part of the

larger kept
these circular semi-

of the

ellipse.
to

Scamozzi, in endeavouring
to

prove
as

that

Palladio

the

rules in with
one,

of Vitruvius
an

as

much in

possible, making
place
of the usual

work

elliptical plan
out

points

that the

the

equal
in

to

one-twelfth added is

of

half

height (4 feet)is nearly of the larger and smaller

constructed columns the of Corinthian

diameter stone,

together.
of

The
two

face of the scene, orders

composed
the

placed one
columns of them the
on

over

the other.

Vitruvius

gives
order

the rule that be

a

podium
of the

of the lower

should Palladio
a

quarter
made

diameter

orchestra, and
8 inches

has

14 feet in

or height,

less than

quarter of the

s
"

Pi

PUBLIC diameter. The The

same

BUILDINGS diameters of the

in

35

These order
are as

columns of the
1 1 scene

are

9^

height.
type.
of

upper columns

is also
in

Corinthian
are

feet 6 inches lower

ones,

height, and
their lower lower

the is The

height
that columns

the

and of the
not

diameter

equal to
upper but
are

of upper

diameter
1

columns. like those

(seePlate
in

1)are
and

isolated

below,
Their

semicircular

plan

attached columns

to the wall.

over pedestalsproject

the lower

and

support
states

statues,
leaves
to

forming
of the the

very

pleasing
of the Above

feature.

Bertotti

the

capitalsare
is

olive, a leaf similar

upper order of

in treatment Corinthian

acanthus.
an

the

half-

columns small
are

attic storey about the while

axes

8 feet 9 inches

high, with
In front

over pilasters

of the between

lower them the

columns.
are

placed statues, by

square of

panels

filled with executed

sculptures representing
well-known the niches columns of the

labours

Hercules,

sculptors.

Between
are

ground
and

and

first storeys in with

placed

occupied by
and
scene

statues

framed

entablature pilasters, The

centre

or segmental. pediments,triangular

of the

has

large open

archway
of the
on

of

circular semi-

form, springing from

and there
are

the cornice

lower

storey,

smaller

square-headed doorways
of the and
as

either side ;

formed These interior These either

under

the entablature

ground storey.
entrances to

openings, central
scene

side, form
streets

the

constructed
are

radiating therefrom. buildings

the
on

streets

built Plate

in

perspective,with
the the line of

side

(see

12);

sight,or

horizontal upper

line, being halfway between

tier of seats This of the auditorium. in

stage level and

construction

perspective was
the also

not

designed by
Scamozzi,
and the him-

Palladio,but, as
as

mentioned in the

above, by the architect

mentioned

proceedings of
and

Academy
by Scamozzi

historyof

Vicenza

by Marzari,

36
self. This idea

ANDREA of

PALLADIO introduced

perspectivewas
of the
a

by

the

naissance Re-

architects. The
to return

walls
in

scene,

which similar

are manner

at

right angles
to

it, are

treated the

somewhat floor is side

the

front

(Plate1 1 ). On
each above The which

ground
on

to placeda doorway centrally

a

return, having
are

each

semicircular-headed filled with

a

niche,
bas-reliefs. balustrade

sunk slightly
a

panels
the

first floor has of

a

central
As

by opening,protected
to

instead of the should which

an

doorway.

auditorium, the rule of

be one-sixth
case

wall (or podium) inclosing that its height Vitruvius was diameter of the
In

part of the
would

orchestra,
the
case

in this

be 9 feet 6 inches. Palladio

on

of

elliptical plan, however,

Bertotti ideas
as

had the

to

depart

from

this,

and
own

theorizes follows
"

as :

usual finds feet

"

subject,and
the
to
100

gives his
of of of

he

that added

longer diameter
the shorter
one

the orchestra 43 this

namely, 58

feet, equals in total

measurement

feet ; one-half feet 4

equals
has

50

feet, one-sixth

equals

inches, and
ing surroundAbove

Palladio

approximately followed being

about

this ; the wall

the orchestra this the here than

21 row

8 feet 4 inches

high.

on plan, are inclosingwall, semi-elliptical

constructed
was

seats

in thirteen

rising tiers.
his
seats
are

The

master

restricted

by

the

site, and
would

therefore been. in

more

cramped
are

they
of seats

otherwise and

have

They
Above

about the

inches

in width is

15^ inches
a

height.

top

placed

Corinthian and hide

centre
12

colonnade, the columns

feet 6 inches

being
are

15 inches

in diameter
to

high.
of

These site

contrived cleverly and

the

of irregularities

the

(Plates 10
columns,

11).

The

and

wings

are

engaged
circular seminiches

having
formed

niches

alternately square-headed and

intercolumniation.
in the illustration. In

in their
as seen

these

are

placed statues,

The

remainder
seven

of the colonnade

is formed

of isolated

columns, with

"

13-

MONUMENT

TO

COUNT

LEONARDO

PORTO

IN

S.

LORENZO,

VICENZA.

PUBLIC

BUILDINGS division
; these

37
act
as screens

intercolumniations
the staircases the entablature
statues

to

each
in

to

formed

the

angles of
is
a

the

building.
which

Above

of this colonnade the line

balustrade, supporting
columns
were

verticallywith by
Giacomo of the

of

executed The

Casetti. theatre from the level of the the is

height

stage

to

the attic cornice of the

is four-fifths
40

(less9 inches) of
The

diameter

orchestra, viz.
without the voice

feet.

ceiling

flat, and stage,

colonhad

extends

interruption over
to

auditorium hindrance. have been

and

allowing
nades space and

travel
no

without doubt

Both

porticoeswould

provided

permitted.
Theatre
to
at

The

Parma

(1618) is

attributed G. Aleotti

to

him, but
pleted com-

it appears

have
as

been

designed by by
Milizia.

and

by

Bernini

stated

The

Monument
"

to

Conte Church

Leonardo of San

Porto Lorenzo

(Plates 13
at

and and

14).
is

This

is in the
to

Vicenza,
nor

reputed by

be

by Palladio, although not

It consists remains those
or

mentioned
; the

illustrated
one

him. the

of three

tombs Leonardo

principal

containing
lower
a

of Conte

Porto, and
sists design con-

the two of Ionic

to

ones

of his two

sons.

The
rest

basement with

pedestal,on
central

which

four

isolated
in order

columns,
of the

wide

intercolumniation,

allow

tomb principal
an

being placed
and the

there.

These

columns The

support

entablature

triangular pediment.
Ionic
a scroll,

capitalsare

unusual, having, beside

leaves round the

singlerow
Among
The

of acanthus

necking (Plate 14).

other

of Palladio
are

reputed designs which

:

we

can

only briefly refer to

the
at

following

Triumphal

Arch

Venice, erected

on

the

occasion

38

ANDREA

PALLADIO

of
to

Henry
that The of

III.

entering

as

King
at

of

France

(a design

similar

Septimius
first

Severus of another Bassano. the

Rome).
Publico
at

storey
was

Palazzo

Feltre

(the

second A At the

one

by
at

architect).

Gateway
Brescia

he

designed
called
An

some

of the

the

ornamental this

detail

for

Municipio by

(usually
Bramante.

"loggia");
is

was

menced com-

illustration erected the

given

of

one

of of the

these

(Plate
in
"

15). 1508,
is
on

The the the

to

loggia
ruins architect be

was

by

Formentone,
of and Vulcan the
;

Brescia,

of

Temple

"putti

frieze

by

Sansovino,
If

window

dressings
work,

are

said indicate

by
much his

Palladio. earlier

they
of

are

really
than

his is

they

type

detail

usually

associated The
"

with

name.

Piedmont. Vicenza.
"

laying
Piazza

out

of

the

ancient

Royal

Park.

The

Maggiore,

1549.

Alinari

p/ioto.~\ 15.
THE

PALAZZO

MUNICIPALE,

BRESCIA.

THE

WINDOW

DRESSINGS

ARE

SAID

TO

BE

BY

PALLADIO.

CHAPTER

TOWN

HOUSES

SOME
palaces
were now

of he

Palladio's erected built

in

most

important
native faced
town

designs
of Vicenza.

were

the

in

his

They
has
quence conse-

mostly
fallen the

brick the

with

stucco,
and

which in

away

from fine

brick

background,
they
are

designs,
from

though
been been

in

proportion
in such

and
mean

detail,
materials.

suffer Our

having
has consider of

executed blamed that

an

architect

for

this

by

certain be

critics, who

evidently
for the that

architect purse the

!

should We would
at

responsible
rather

depth

his in able

client's

rejoice

Palladio,
have been

spite
to

of

material such

his

command,
results.
In

should

produce

excellent

his of
"I I
am

second
town

book houses that

to

(Chapter
with

III)
some

Palladio

introduces remarks. upon the

the He ings buildand way, sumes preI

subject
says
:

quaint
shall look of in

am

sure

they
the

who

going
know in

give
hard
art

draughts
it is
to

this
a

book,
new

they

who

how the

introduce

particularly
to met

of will
were

building
think
me

(in

which

everyone that and

and

be

knowing)
who
to

very

happy judicious

have
sonable rea-

with

persons

generous, approve way of

:

enough
to

hear that

and old
at

my

reasons,

wards after-

give

over

building,
and
me

which
I
own

is without it
as a

any

proportion
favour
me an

or

grace God has

all done of

indeed

particular
to

amongst
several

many

others

give

opportunity

putting

things

in

40

ANDREA I had learnt

PALLADIO laborious

practicewhich
and

by

very

examination

long study."
The
Palazzo

Chiericati

(Plate 16).
"

The

plan

shows

that the
on

or great gallery, on

portico,extends
the the first in
two

the

whole

length of
up of

principalfront
the
two

ground floor, and

floor, the
and

is carried

wings
floor

to

central

portion
hall. for

the

upper of

being
Ionic

walled has

forming
floor,and
favoured.

the

The the

front

this

building
which because of may
an

orders, the
first often is

Doric is
an

ground floor, the

of be the This
a

for the Palladio his

name

example
is to with

treatment

This

remarked,
treatment

generallyassociated
two

order studied

embracing
with

storeys in height.
as an

facade of

be

advantage
"

excellent

example
In

our

master's edition with

method. of the Palladio's central

Leoni's is shown

Architecture," this
order
as

building
floor
as 1

Ionic

of the in of works

first
our.

instead pilasters, 6. This mistake

of half appears

columns,
in Leoni's

shown

Plate and

edition

17 15,

in

all the

subsequent
in the that

editions

of Palladio's

by
N.

this author. It also Most

occurs

editions the

of

the

architect of

N.

critics will agree would

substitution facade follow

pilastersfor
of its Palladio's

half columns interest. methods The

as

have

deprived the
of the
rooms

of much
out

proportions special feature

described

in Book

I., Chapter XXIII.

facade the is the continuous lower order

Another

of the which

pedestal,or forming
Doric
a

stylobate, upon
base
or

rests,
The

solid

support
of

to the

whole

structure.

column

itself is also

sturdier

proportions than

half diaand meters a usually adopted by Palladio, being seven in height. This probably used because proportion was columns Palladio felt that as these free-standing supported

TOWN the central look three

too

HOUSES

41 which
was

an

upper

storey
"

portion of

solid

"

they
inter-

would

otherwise is

weak

for the purpose.

or
as

The

columniation

diameters,

Vitruvius

calls and

it,
in

diastyle.
on

It is also to be noted
a

that the windows twice and

a

doors

this floor have

height of
twice

their

width, whereas

the upper in

storey they are

difference the
own

one-eighth of
more

their width

height,a
master's altered
to

giving

lighterand
Such
as interesting

graceful
from how
; in

proportion to
the he them
create

upper

windows.
are

deviations

precepts
to
an

showing
of the
case

suit

the

circumstances in which the

order
were

ensemble

various

features

proportionate.
The upper
in

storey is treated

with

the

Ionic

order, nine
no

diameters In
sees

on height,resting

pedestalswhich
Palladio's adherent slavish

have
own

base.
one

comparing
at
once

this

building with
was no

rules
to

that

he

them, but
which his

that

when
taste

necessary and better book

good
In

practisedmodifications judgement demanded.

none

he

Palladio's
are seen

of the statues
as

or

vases

are

shown

which and

in the illustration up the vertical

crowning
of the the

the

structure

carrying

lines

columns.

It is

doubtful attenuated
a

if these
vases

additions have
a

improve
very

the certainly design, unpleasant effect. Although have been erected time it
was

large part of the building appears to during his lifetime,it was only finished a
death, viz., towards
to
a

considerable
says

after his confided

1700. who had

our

Bertotti neither master's

master

mason

knowledge
taste
or

of

architecture In

nor

the least idea of

we

style.
These

consequence,
out

find

in

the with

portion finallyconstructed
the

innovations consist also in

of character instead
of

originalwork.

of circular
a

flat

decorative

treatment

in compartments, ceilings not originallyintended.

Bertotti, in conclusion, defends

G

Palladio

from

certain

re-

42

ANDREA

PALLADIO

proaches made
studied of his of the
to
men

against him
the had
were

by
cared
to

many

critics, viz.,that he had

too

much

magnificence and
too

general proportions
In of

and buildings, persons who

little for the convenience them. methods Palladio

the

inhabit

dismissing
and living,
"

charge

Bertotti

thus

refers to the

the customs of these of

not

of the times

century in which
demanded
to

lived
a

The

only
to

in

their houses

certain needs time." before

number
were

rooms,

suitable

their

needs, and

these in
our

multiplied
hindered
our

as infinity

they
! to

are

architect happy sixteenth-century

have

existed

sanitation in

magnificence by
fronts.

the

exposure

of drainpipes

house

The

Palazzo This

Thiene
was one

(Plate 17).
"

Situated
most

near

the

market-place.
commissions,

of many

Palladio's of his of

important only
square

and, like
In

so

designs, was
a

partly

finished. of

plan
6
are

it consisted

central

courtyard
whole site

84 feet

inches, surrounded
the various
rooms

by

rusticated size of the

arcade, beyond which

; the

being

190

feet

by 176

feet.
to

Palladio's have that

remarks
common

possessed
the it

regarding this building show him for after mentioning'the sense,

in the proper which heart
to

fact
"

building is
was

of the the

town,

he

says, floor

thought
shops
those
on

very side
to

leave the

ground
; the

for

that

fronts
some

market

architect

being obliged
that
are

have the

at

expense
In

regard for the advantage of does of the building." Thus

classic

history repeat
Renaissance,
necessities have
or

itself! and
in

the

days
for.

of
same

Rome,

in

the

modern
to

times, the

commercial
In

had

be
is

provided
placed
facade

this

case

mezzanine,
use

half

storey,
the

over

the

shops

for

the

of

the

shopkeeper.

The

shows A

another rusticated

method,
lower

and

not certainly

least

successful.

\-J.

I'ALAZZO

THIENE,
1'ORTION OF

VICENZA.

DETAIL

OF

FACADE.

TOWN

HOUSES

43

storey with

flat arched

windows,

surmounted

by
with order small

semicircular

arches, supports the first floor,ornamented

on pilasters

composite

and pedestals, windows with

above

this

is

placed
This is

an

attic. The Ionic

to the first floor have

three-quarter
an

columns

entablature

and

pediments.

excellent

composition,the reserved use of the order for one first-floor windows storey only being very happy. These between which shafts restingon rusticated have pedestals, placed balusters
stage from
;
a

are

somewhat Palladio

unusual in order
to

composition,
lead

and

probably designed by
to

by

an

mediate inter-

the masculine

treatment

of the

basement makes Ionic

the

delicate mistake

Corinthian in
are

another

pilasterstage. Leoni the pedestalsof these rusticating reality plain.

in Bertotti's is shown In Palladio's

columns, which

in

original they
of Leoni's

designs
are

the

pedestalshave
them,
as

bases, whereas

in execution
In

without

drawing.
at

drawing: the main

the

entablature

about

one-fifth

height of
whereas its

the in

column, which
execution
our

is Palladio's been

usual

tion, proporto
one-

it has

increased

fourth the

height ;
of of the

architect the
streets

evidentlytaking
and the This is

account

of

narrowness

consequent
a measure

shortening foreof

upper had

mouldings.
been

necessity
Vitruvius

which
in his

previously

insisted The

upon

by

Book
a

III., Chapter III.

treatment
are

courtyard is

equally fortunate,
that the necessary the the

similar

being adopted, except

small

openings
attic here upper many

left for the also

In

piers.
rooms

The of the

has

arcading between windows lighting

this

storey.

regard to
which and

building,
authors He
doubtedly un-

Bertotti have also

has

found

of discrepancies

other

been refers

guiltyin
to

their measurements that the

drawings.
was

the

fact

completed portion
lifetime, and
out,
carried

erected

during
are

Palladio's
as

that

his that

published drawings

not

premising

44 Palladio
was

ANDREA

PALLADIO

his drawings. probably too busy to correct ideas of what the complete scheme He also gives his own would have been in regard to plan, elevation and section, and rightly reprimands Leoni, who in his edition of Palladio's

works, published in London

the outer do
not

in
on

17 15, has
to

shown

attics

on

facade, as
exist in the

well

as

that

the

which courtyard,
a

executed Bertotti
is

portion.

Such

mistake

is

unpardonable,and
strong
we can

terms.

Bertotti with him

in referring to it in justified this building, and rightly eulogizes he says,

agree of the

when

apropos

of his restorations

striking magnificence of the the interior, the solidity of the ground storey, exterior and the eleganceof the second, the continuity of the entablature,
the

designs, "The

strength of
the

the

arcades

and

of the

the noble up
a

pilasterswhich
and scheme
an

ornament

courtyard facade,
apartments,

judicious
which, if
ornament to
our

distribution executed in of the

of the
its

make have

entirety,would
country
of

made

worthy
master,

the

Palladio." adorned

According
with

finished

portionwas
and

sculptureby

Alessandro

Vittoria,Bartolomeo
Canera

Ridolfi,and with India, both

paintings
the latter

by

Anselmo

Bernardino

being
The

of Verona.

Palazzo

Valmarana.

"

This the

is

one

of

the

best

known will

of

Palladio's the

works, and

plan
and

and

illustration
to

explain
Our

general distribution
and

treatment

the

reader

(Plates 18
author

19).
says, that the "Conti Valmarana their and

in his book the

built
own

according to
honour and their Would

followingdesigns,not only for

ornament
a

convenience, but also for the

noble such and
men

glory of
this

country." Truly
there
were

ment. sentipatriotic

many
!

nowadays

in

great British

Empire

The

plan

shows

that the house

38

rr-p-prji

t
siIf. 6:1-

f/;o

Jlfu"rion.

*Jco/*

18.

PALAZZO

VALMARANA,
PLAN.

VICENZA.

Alinari

photo. ] IQ.
PALAZZO

VALMAKANA,

VICENZA.

TOWN is divided shown The

a

HOUSES central

45

into

two

parts by
120

court, and
feet 6

behind

is

large garden,
are

feet
rear

by

68

inches

wide.

stables The

also

placed in
and the It

of the site.
are

ground-floor apartments
calls their edition
on

vaulted
ones

("arch'd"
at
a

as

Palladio

them),
the

upper

ceiled
to

height
that in
gular rectan-

equal
Leoni's

to

breadth.

is curious

observe shown
as

site of this in

building is
"

plan,

whereas
"

reality
wall
two

as

shown
at

in

Bertotti
to

Scamozzi's
the

drawing

the
were

front

is not

rightangles
of
at to

side walls.

There

ways
a

only
have

either that of making facade,viz.,

to the

front wall

treatingthis rightangles
be set back
or

side the

walls, in which
of

case

it would

from else

general line

the other

buildings in
it line

the street, up with

for

as

Palladio

arranged it,of making

in the front
not

the the the

general building frontage, allowance

difference latter but of

being
In

made

shape

rooms.

choosing
his

arrangement,
as a

Palladio

only showed

good

taste,

left it

legacy for
been

architects

of all times.

Many
The

modern this

buildings have
of

spoilt by neglectingto adopt

principlein dealing with settingback

the is very

awkwardly shaped
order
to

sites. the
seen we

method square
at
once

facadein
from

make be

rooms

and unsatisfactory, Thus

our our

has

only to

to

be

condemned.

do predecessors
own

learn facade

principles equally applicablein

(Plate 19) of
much the Valmarana
It shows

day.
been the

The

Palace another

has of

subjectof
treatments,
two

criticism. order and the block of

Palladio's

having an
in

Composite pilasters embracing

an

storeys
At the

height
front

having
main of this the

attic

storey

over

them.

extremities the The

order

embraces

three has and

storeys.
been

Only
The

important design
base
is

executed.

facade

above

in

brick

stucco.

are great pilasters

of the

Composite order, and

their diameter. The

have main

height
entab-

of ten

and

quarter times

46
lature
rests

ANDREA is one-fifth upon the

PALLADIO

height

of

the

column, and
one

the order

projecting rusticated
of the

pedestals

quarter of
of the

the

height

pilasters.
marks the

The the

secondary order, ground floor,rests

arrangement

Corinthian the many

same

type, which

upon which

pedestalas
critics have order

largerorder, an
of half

denounced.

This

consists of their

mainly

with pilasters

ture entabla-

one-fifth and order

at

height backed height of

the

against the
The

main

order,
to

is not

happy arrangement.
of the

entablature

this

is one-fifth

and pilaster, main

is broken

each main

intercolumniation entablature is
an

against the

pilasters.Above
is
one

the

attic,the height of which

windows
to the

quarter that of the pilasters.The

principal
ones

storeys have

height of
of small flat

twice

their

width, the

upper

having
to

balconies the

projection.Palladio
this that is of the

shows

statues

surmounting
the view interior The in

of pilasters
seen

order, but by referring

not

it will be colonnade As

they have
the Ionic

been
8

executed.

order,

J diameters
could

height.

showing
he

variety

which

Palladio

introduce central the

when

to find that the wished, it is interesting

intercolumniation
ones 2

of this colonnade

is 3f that of

diameters,
the
one

intermediate
1

diameters, and
width of the

angle
is
quired re-

columns

diameter. the passage

The of

central
are

for

carriages.
Palace, the
extremities

Critics

divided in

in

regard
being

to

the Valmarana
treatment to

main of
seen

point
the that

dispute
main

the

of

the

facade. By
the the

reference

the
not

it will be illustrations, continuous and be do

not

are pilasters

terminate

in

manner

which

might
and

expected,the
made
to

facade secondary order

statues

being

doubled As
not

instead
a

support

above of

its cornice.
some,

of design this, in principle

the

opinion

does

appear

correct, the
and

length of
the

the

facadebeing
of the whole

thereby apparentlydiminished

framing

Aliiiari

plioto.]
20.

PALAZZO

15ARUARANO,

VICENZA.

To rVT-

~f5a"-fcarinr

TOWN

HOUSES
It is

47 unfortunate
may

design unpleasantly affected.

house without
a

that be

the

is unfinished, hesitation of the

but

Bertotti's he says

views
"

accepted
have been for its and the

when

that

it would

chef-d'ceuvre
as

beauty and

magnificence, as
its

much

extent

by

regularity of

distribution

elegance of
House this the

its ornamentation."

for

Signor
as

Guioglio

Capra.

"

Palladio situated the

scribes dein

house

already commenced,
of Vicenza.
It
was one

being
of

principal street
a

smaller
as

designs,having
usual,
an

frontage of
courtyard.
with

about The

50

feet,and
has
an

has,

is

internal basement

facade

astylar
an

rusticated

(ground storey)supporting
Corinthian

upper

storey, ornamented
the latter

and entablature, pilasters insertion of windows.

being

mutilated

by

the

The

Palazzo ways,

Barbarano because
was

(Plate 20).
"

This his

is interesting

in many and has which its

own

Palladio

shows

original design
In

also
an

that which
entrance

actuallycarried
a

out.

plan, this beyond

storey has
Corinthian carried

leading to
court.

large columned
to

hall

is

an

open

As in the

the

facade, each
one

order, whereas
of semi-columns
two

design original
on a

order

resting
that the On

podium

was

through
There

storeys.
no

is

doubt

second

or

executed

design is
space

immeasurably superior.
between
have the Ionic flat arches
; the

the

ground
of wall

floor the wall and space should

half columns abundance

a

is rusticated

the windows

giving

the

necessary

strength which
be taken arches

ground storey
to

possess. upon upper

Exception might
which these

the

impost moulding
unnecessary.
manner.

rest,

as

being
ornate

The The

storey is in Palladio's
have architraves and

most

windows alter-

consoles

supporting pediments,

48

ANDREA

PALLADIO

natelytriangularand
figures.
with and The

segmental, upon
podium
the
to

which windows columns

are

clining placed re-

these

is
are

pierced
unfluted the with

balustrades, while
rest

Corinthian block An whole

upon of the

continuous order. the and

immediately
plainly

over

cornice square lines

lower
crowns

attic

treated

windows

building,the
statues. treatment

columnar The tration illusIonic Greeks

being
shows
to

carried the

up

supporting angle
"

successful

of

the the

shaft
never

the

ground
shown

storey
in the

which difficulty influence of and

art

quite surmounted.
Rome
is

The

of Palladio's the

study
the

in

absence in brick of

pedestal to
matter.

columns.
must
meanness

Although
remain of the

built
a

stucco, this
over

palace
The in

always
superior
been

triumph
used of
a

material

is

completely lost sight of design.

Palladio
a

the

excellence

master

In

execution it
as a

this has

considerablyaltered.
of
seven

shows

regularfacade
into
a

bays

with

central

opening leading
land
to
one

columned
to

vestibule. been

Additional his

side throws

appears the

have

acquired by
out

client,which
Bertotti he has

entrance principal

of the centre.

points out
of and

several

faults, and
his

after
to

stating how
give
were

endeavoured
our

throughout
architect's the greatest

book
as

the

measurements

works

they
the

actually executed
to

with

in precision, chides

order

contribute
"

to

the advancement

of art, he the actual

architect, N.
to

N.," for altering

them which
more

measurements

in order
to

render defects

portionat proexisted.

and With may

also
to

hide

certain

regard
remark and
are

the

general proportions
Ionic
an

of the
9

facade,

we

that

the

columns

are

diameters the the

in

height
of the

given
The

entablature Corinthian

of one-fifth columns but

are

height
second

columns.
a

to

storey have

height of 9! diameters,
those of the

less in This

height
forms

by one-eighth than

ground storey.

!I.

PALAZZO

I'ORTO,
OK COURTYARD.

VICENZA.

DETAIL

TOWN

HOUSES
is obtained

49

very

pleasing proportion, and

by continuing
those
tinuous con-

the

line of the the upper

of

upwards, to form ground-floor columns This produces a gradual and storey.

The Corinthian into attic

diminution. third that of

is

storey has
In

height
the isolated
Roman

of

one-

the

order. three

plan by
the

entrance

vestibule columns.

divided have
of

parts

Ionic

These those

angular capitalsof
the

type,

resembling
Book used the

Temple
instead

of of the

Concord

(Palladio,
Palladio's be the
an

IV., Chapter XXX.),

in

straight-faced type
it shows

facade. in

In

that four

position
faces of the

good
made walls.

taste, for
to

having
to
are

these

capitalscan
attached and
to

correspond
The columns

those 8*

piers high,
their his
own

diameters of from

support

impost
how
our

moulding
architect The Ionic in

one-thirteenth often order

height, showing
rules of proportion. different the scales of

departed
is

employed

in three

proportion
uses

this each

building, varying
was

with

position and
to

to which

intended. 9

The

Ionic

columns

the

front

facade
at

have back

height of
latter Palladio Book the

diameters, those
and
to

of the courtyard the

a

the

gi diameters,

those

to

entrance

82

diameters, these

having
followed

support

solid

vault. the

It is

possible that
be
to

Vitruvius

in

this,as

latter mentions may well

in his made from

I.,Chapter II., "that

variations order columns

to

regular proportions,in
The upon
a

suit them
to

specialcircumstances."
are

Corinthian

the

first floor in
a narrow

also

raised

plinth.
have

Their been

bases,
hidden in the

being
by
the wide Thus
to

street, would
of the back
our

otherwise lower

projectingcornice courtyard
by
the the
at

order, whereas

the of

this

raising was
methods

unnecessary. do
we

study

architect's of

learn
an

overcome

difficulties

foreshortening, always

important

consideration.

50
The Palazzo in this

ANDREA Porto.

PALLADIO Palladio's which he

two

C^O IYea ns-^Po rT""

classical

studies

are

apparent
and

building,of
The executed.

gives a plan, section

streets, and
from central the front
street

elevations.
was

buildingfaces
The
to

portion only
lead open

entrances
a

each

through
to

columned

halls

great

courtyard,
of

the

sky.
columns

This

is surrounded
two

by

colonnade

Composite
crowned this
serves

embracing
and covered

storeys in height and

with

entablature is
a

balustrade passage
on

(Plate21).
each back

Behind

colonnade

floor, which

for communication house. The

between passage
to
on

the front and the

portions supported

of the
on

first floor is of these that

"

attached pilasters

the
to

backs observe for the

tall

Composite designed
his

columns. the and

one a

It is curious

Palladio and

front the and

part of the house

back the

master

family,
that the

part for the

other may pass the

reception of strangers,
to

and

fro with

more

freedom,
in of

custom

which

the Greeks, held ancients, especially

great regard." He
the

places the
those who

main go
most

staircase up and

on

one

side
sarily neces-

courtyard,"that
have
a

down

may

prospect of the

beautiful it may

par.t of
serve

the
two

house, and
separate
Veronese interior.

that

being
of the artist

in

the

middle

the

parts
as

fabrick."

Palladio
to

mentions

Paul of the

the

employed

paint portions

The

exterior

one (Plate22) is certainly

of the most
to

pleasing of
A rusticated

the

master's that

efforts, and, in regard

shown
in

ment, arrangeThiene. and

resembles

already
with with

the

Palazzo

basement

square-headed windows,
carved columns Ionic and

circular
a

relieving arches
nobile of attached
are

keystones, supports
entablature. surrounded with consoles

piano

Between

the columns architrave

by
Over

an

square-headedwindows moulding, and provided

carrying pediments
these

alternatelysegmental and triangular. pediments Palladio designed reclining figures,

Alinari

photo,
PALAZZO

PORTO,

VICENZA.

TOWN but the view

a

HOUSES three
ones.

51

shows central

that and
two

only

groups This appear

are

really complex

executed,

angle
another that

omission

helps
and between carried

the

facade, which
There

might
is

otherwise

too

crowded.

also

important
which
was

difference

Palladio's
out.

design
statues

and which

actually
attic

In
a

the

decorate

the

storey
the top

Palladio

shows

range

of

eight of these, resting on (Plate 22) there

above the this
are

of the attic and of

whereas pilasters,

only four,
in front

they are
the

placed immediately
To
our

cornice is
an

pilasters. position ;
about

thinking

infinitely

better

there

is

something dangerous looking and

at
a

gymnastic
from the Bertotti which

free-standingsculpture
in between his book
our

great height

ground.
mentions
occurs

the

ence extraordinarydiffer-

master's
a

designs
measurements

and

those of
on as

actually carried
his the

out,

and

after

descriptionof
the actual
case.

each

buildings gives, side drawings

at

by side,
and the

of

Palladio vary in
we even

measurements

executed, which

nearly
are

every

He that

expresses
a

surprise
common

this, but

of

opinion days
that which
of

it is

very

occurrence

in these and
in

accurate to

drawing
be
dered won-

and

careful
at

draughtsmanship,
the

it is not Palladio
to

during
crude

period

lived. been of

In
a

those

days draughtsmanship
and unfinished
accurate sufficiently

appears

have

decidedly

description,although
purpose. of This
can

parently apbe
in

for the

seen

by looking
museum

at

the

autograph drawings
and also in the the

Palladio

the

at

Vicenza,
in the

shire Burlington-Devon-

collection British Architects.

libraryof

Royal

Institute

of

The alludes

afore-mentioned
to in his second

town

buildings
as

are

all that Palladio carried

out.

book

having

been

He

52
then the

ANDREA

PALLADIO of the various Greeks.

proceeds to privatehouses
The Palazzo
as

treat

types of atrium

and

of

of the

del

Consiglio del and

(Plate23).
"

This

is also

known

the

Palazzo

MuniCapitanio, the Prefitizzio, Palazzo Communale.

must

cipio, Loggia Bernarda,

mentioned erected in Palladio's after its

It is not have that been it is

book, and

therefore be noticed

publication.

It will

comparativelya
design, and
de' of his

small

a portion only building,

of the

original

is situated Thus and

we

oppositehis masterpiecein
can see

the Piazza
one

Signori.
earliest

at

one

glance,as
The

it were,

latest

productions.
carried them round
over

Composite
is crowned well

half

columns,
and
a

without

pedestals,are
breaks attic the The

through twofstoreys
and

their entablature

by

balustrade.
not
are

storey
lower windows

is set

back, and
the

does which and

interfere with excellent. upper and

general proportionsof portion forms

and
a

facade,

The

arcade, triple

the

storey has

balconies The

projecting
windows

forward

supported on
into the

triglyphbrackets.
architrave is hidden of the main

of this storey cut

a

entablature,
blinds.

defect view

in the also

design which
shows of the the columns mentions the

by

the outside
of this

The

condition dilapidated

facade,

the brickwork fallen off. the

showing
that he

where

the

plasterhas
very and
was fully care-

Bertotti

examined

building and
that the of which of

surrounding ground,
included
seven

of

opinion

original design
have this been

openings,
In

only
the

three

completed.
columns

regard
have which

to

proportions
in

building, the

10J

diameters
rest.

height,not
is in
are

including the plinthon height about

between
treatment

they

The and

entablature

one-fifth

of the
are

column,
in

the arcades

which

the columns of the

height

2^ times

their width.

The

side

facade is

Alittari

photo. \ 23.
PALAZZO DEL

CONSIGLIO,

VICENZA.

TOWN

HOUSES order of the

53
not

different round used

;
a

from

the

front, the

main

being

carried is

smaller

Composite
range
a

order with

four lower

half-columns

instead.

These
rest
on

storey of the support

with
an

and building,

continuous

pedestal and

entablature, without
balconies projecting one-eleventh The than the

architrave, which
of the

corresponds

the

front, the entablature

being only
is wider the

part of the height of the columns.

intercolumniation
ones

central side

of of
an

this

facade

and its side

consists

archway,
have

height
the

of which

is twice

width, with

sculptured figures in

spandrels.
statues

The
on

intercolumniations The upper of

free-standing
entablature the refer the central
to

placed
serious
cut

pedestals.

storey of this facade

the arch work with main of

has

defect, the

architrave semicircular of

being
window.

into
All

by

the

reviewers it

Palladio's interfere

this

blemish, and
even

certainlydoes
d'itre of this

dignity and
The central Doric
a

the raison window

important
each
a

feature.

upper

is flanked between
in

on

side niche in

by
and

pair of
statue,
and

pilasters, having
favourite used
treatment

them after

very much

years

England,
name

by

the brothers Bertotti after

Adam,

with

whose that

it is

frequently
bably pro-

associated. erected his absence mentioned.

considers Palladio's

this
or

building was
at

death,

any

rate

during

elsewhere, thus

accounting

for the

faults above-

The
as

Casa "Antica

del

Diavolo.

"

This

is known

in Vicenza the "Casa and

the

Posta," and
of
own

is called

by

Bertotti

Porto." does
not

It is another appear in his

Palladio's

unfinished

designs why

publications,but
advances
to

is illustrated he

by Bertotti,who, however,
does
not

several be

reasons

consider

this

building

the work

of

Palladio,
which

but that of Vincenzio

Scamozzi.

From

the foundations

54 Bertotti which interior in discovered he

ANDREA

PALLADIO the site he

on

publishesa
entrance

restored

plan, in
to
an

places a

central

columned

leading

open

courtyard with
of the

semicircular

end, about

57 feet

length.
Two

bays only
the immense order

facade have
adopted.

been Half

completed, which
columns cornice These of the of which columns

indicate

scale
on

Composite
forms
are 10

rest

the deep pedestals,

the

impost

of the in

principal gateway.
from

diameters

height,and
oak
to

their abaci from

are one

sculptured
capitalto
with have

festoons, bound
another. The

with windows

leaves, stretch
the first

storey

crowned

pediments, alternatelysegmental
balconies, with projecting
The entablature of the
manner

and

and triangular,

balustrades order
are

supported by
is one-fifth the

consoles.

of the main windows

to

of the

height
of the

column, and
of

placed in
the marked have

in the frieze,
rooms

Peruzzi,

give lightto
; the windows

small

upper

storey. The
the of The

ground storey is

by

the

elongated
is rusticated. above

of pedestals the
manner

columns

flat

arches,after

Sanmichele, and
constructed
a

the wall

space and

over

facade is
has
to

in brick

stucco

the
court

pedestalbases.
at

Only
been decorate lower

portionof
it with

the semicircular-ended
this

the back

constructed, but
Corinthian

shows

that

it

was

intended

half

columns,

embracing
balcony.
intended

the two This

storeys and
of and the

supporting a
seems

continuous have been

portion

edifice

to

for the servants the

domestic main exceed

As

offices. The

excessive

height of
our

pedestals to
rule should be
are

the
not

facade order, which

one-third
to

by

master's the

of the

height
main

of

column,
as

is to

noticed.
too

the

plan, the
intended
to

staircases about 3

shown in

small, being circular,and

Palladio finished may have

only
to

feet

width, but
The

place these
been intended

elsewhere.

facade seems
; the

have
as

for five intercolumniations

central

one,

TOWN

HOUSES the

55

shown the arch tions.

by
rest.

the

ground storey, being wider than to Bertotti, however, disregard this appears
arch
on

way,

and

restores

the

facade as

seven

intercolumnia-

Other
"

Town other

Houses
town

(whose authorship
in

is

doubtful).
tions men-

Among
a

buildings
for the that

Vicenza,

Bertotti

house evidence

built
to

in 1540

Conte

Trissino, but there

work. wide On the

is

no

show

it is Palladio's
an

ground
with their

floor it is fronted

by

arcade The

with

nected conpiers,

by

semicircular Corinthian
on

arches.

first floor
no

is decorated in
tablature en-

coupled

having pilasters,

diminution
an

shafts, resting
one-fifth

pedestals,and height.
not

supporting

their

The

windows

between

the

coupled pilastershave pediments.

authentic,
been
as we as

alternately triangularand
does consider in 15 this would

segmental
work
to

Bertotti Palladio years it

be

(if born
old
can

18)
he

only
born in

have

twenty-two
have

at

the held

time that

of its
was

erection, but

if,

shown,

be hold

1508,

this

would objection

not

good.
Conti Valmarana.
to

The situated

Pavilion
near

for
on

the

"

This and
tioned men-

is is

Vicenza,
as our

the

way

the

Rotunda,
not

always

described

architect's It forms has

16

work, although
what three
we room

by

Palladio.

should

call side

in

England
side, the
one

garden-house,and
outer
ones

placed
and
to
a

by

two
1 1

being

feet wide

the wide

central

about
20

feet 6 inches.

These

give on

portico
three ing accordis raised the first

about
rooms, to
on

feet

wide, extending the whole

a

length

of the

and
the

having
inner raised

colonnade

of six Doric
a

columns

proportions of Palladio, while

columns.
on an

pediment
are on

the

four
are

These arched

rooms

floor and

basement.

56
House
for
as one

ANDREA Conte Bernard

PALLADIO Schio.
A

"

This

is

regarded
elevation erected work this

by
are

many

of Palladio's

designs.
held older

plan

and
was

given
his

in Bertotti

who, however, doubts

It is also
an

if it

under

supervision. only
him in from is almost lower
a

that

Palladio's

consisted absolves The

a

enlarging
many 40 of

building, and
in the consists

the in

faults

structure.

facade rusticated

feet in

length, and
is and
a

of

storey

which arch

central

entrance,
flat-headed thian Corin-

spanned
windows

by
on

semicircular side. The

having
which balconies the

either

first storey between

is of the
are

order with

(half columns),
and the lower

windows with trades balusThe is

architraves occupy

pediments, while
portion
is that

of

windows. entablature
to

defect principal
cut

in the
to

facade

the

main

into

in

order

provide

three

windows

light the
a

which the upper granaries, storey. It occupy spoiling an otherwise elegant facade, and could avoided

is

defect,
been

have

by
who

the

use

of roof

lights.

It

was

probably effected

by

those

had

the execution

of the

design.
Thiene. This
was

House another of

for

the

Conte doubtful direction

Adrien

"

is

yet

Palladio's the its

productions, and
of Vincenzio It is curious for the that

structed con-

under does who

not not

Scamozzi,

who

mention
out

authorship.
mention
entrance

Scamozzi,

carried
even

Palladio's
case

design

Villa
name.

Capra,
The

did

in

that
a

Palladio's

plan
hall

consists

of

central

leading
of the staircase is lower

to

vaulted

occupying
rooms on

the each

whole

depth

building, and
being
on so

having
one as

side ; the The

to

main

of
to

these have
an

sides. order the

principalfacade
each

designed
; the

storey.

The

thian, storey has Corinwindows of

and the

upper
are

Composite kept low,

columns
to

ground storey

allow

for

the

springing

XUnari
.

photo.}
24.
THE

HOUSE

01

PALLADIO,

VICENZA.

TOWN of the vaults

HOUSES the

57
blank windows
are

crowning
and

storey, and
The windows

placedover
have

the lower

ones.

of the

first floor

architraves

and pediments, alternatelytriangular

rest

segmental, while
lower order.
An

balconies attic
crowns

upon

the

cornice
; that

of
to

the the

the whole

facade
to

colonnades garden having free-standing the

same

each

storey of

order

as

the front.

The
to

House
no

of

Palladio that Palladio

(Plate 24).
"

There

appears

be

evidence in

ever

resided

in this

house,

erected evidence of
one

1556

there is direct indeed, according to Bertotti,

not.

that he did of
our

At

the

same

time,

as

an one

instance would ingly exceedof

a

master's

smaller

works, which
is

expect he might have

designed for himself, it

work.
an

an

interesting pieceof
and

The open

plan consists
area

front the in

back
of

with corps de logis, which The

in is

between,

to

side Plate 9

the

staircase.

The

facade

is shown

24.

diameters
A

ground storey has Ionic height, with entablature

semicircular-headed has and

columns one-fifth

of about of their forms

height.
Smaller

large centre

opening
the side. The

the chief entrance fiat-headed

in reclining figures
are on a

spandrels.
first

openings

either rather
an

storey has
with

Corinthian

of pilasters above The

stumpy

tion, propor-

84-diameters, and viz.,

a

is

attic storey, crowned space in the centre the of

modillion

cornice.

blank

the first storey is for this In the

room

probably caused
mostly
niches
are

by

the fact that the

light
court.

is obtained
two

from

interior

vestibule Palladio

containing statues

senting repre-

and

Architecture.

All

the

town

houses

mentioned He
was

above also the

are

at

Vicenza,
of
"

Palladio's house

native
at

place.

architect

erected

which of Friuli, Udine, the metropolis

1

was

58
built from the of

ANDREA

PALLADIO

foundations the
same

by Signor
It is of
a

Floriano square

Antonini,

gentleman
two

town."
; the

type of plan, hall,

storeys in height
of of the this whole

central of the

part, representing the

two

being
floor

height
has

storeys. columns,

The and which the

A

ground
the first latter central

portion

Ionic

half
on

storey
are

Corinthian

half

columns
a

pedestals,
crowns

without The
are

bases,
main

while roof in is

pediment
on

portion.
elevation forms his

hipped

all sides.

plan
indeed

and it
;

given

Palladio's when his best

second

book,
of

and
town

first

illustration
one

writing

houses
was

it is not,

however,
an

of work. which

examples,

and

in

all

probability
Another of

early design,

shows
is

very for the

original
Conte

treatment

plan

for

narrow

site,
at

that No but

Giovanni exterior

Battista is

della
in

Torre,
Palladio's

Verona.

elevation

of the

given

book,

merely

plan

and

tudinal longi-

section. The sides

entrances
are 1 1

feet

6
to

inches
two

wide

on

the

narrow

facing
feet

streets,

and

lead in

courts,
these

each
two

57

feet
courts

long
are

by

34

wide.

Wedged

between
to

twelve
The

Ionic lower

columns hall leads The and

grouped
to
an

support

the

upper

hall. and
mented orna-

ellipticalmain
of these

staircase
are

secondary
with the is upper carried floor is
a

stairs. Ionic order round

on

facades Corinthian

courts

pilasters and
on

entablatures,
A

being
the the

placed
top
of

pedestals.
Ionic of this

gallery
at

the

entablature

the

first There

level, for

purpose about

intercommunication.

spacious

breadth

plan

which

is very

pleasing

and

satisfactory.

IS.

THE

VILLA

CAPRA

(THE

"ROTONDA"),

NEAR

VICENZA.

PLAN.

CHAPTER

VI

COUNTRY

HOUSES

PALLADIO
his remarks in these second
on

introduces

the

subject
XII.,
various 'tis have

of

country
a

houses

in

book,

Chapter
and the

with

few

preliminaryetc.,
and

situation
"As
a

compartments,

words: for is

certainly
to to

highly
a

creditable in
as

convenient where
some

gentleman
sometimes the

house

the

city,

he

obliged
in

reside, either
or

occupying

public post
his
own

government,
;
so

for he in may the and

the

management
receive
no

of

private
and the

affairs

perhaps
a

less

pleasure
he
own

advantage
rest

from time

house in

country,

where his

passes

of in

his

seeing
his

improving
by
either for the

possessions,

augmenting
by

substance himself proper

;

industry
in ing walk-

and

agriculture, where,
or on

exercising
are

horseback his mind be

(which

only
and

country),
in of that
or a

he

preserves the

body being

strong

healthy by
and

and

where,

word,

over-laboured recruited himself in used

to

the

fatigue
: so

the he the

city, will
may then

singularly
apply
nature,

re-created

quietly
of

the

study
of those
to

of

books,
ancient
to

contemplation
who,
on

imitation

sages the like and tains, Founall

such
;

accounts,

frequently by
their

retire

places

where and such

being

visited

virtuous

friends

relations,
and
own

possessing
other could
on

Pleasure of

houses,

Gardens,
but above

objects
easily
earth of

diversion,
that

their of
a

virtue,

they

attain
can

highest
be

pitch

happy
Thus

life, that
were

this

possibly
country

enjoyed."
in
our

the

delights

the

appreciated

60 master's

ANDREA

PALLADIO of the modern

not by time, although certainly to

means

Saturday
The in
"

Monday
with and

flyingvisit.
extended space the A
are

open

positionand
town

then

dwelt

on

comparison
commodious considered

sites,and

for finding necessity

healthy places."
to
"

position near
and and of

river

was

conducive

the

beauty
summer

convenience
use

of the

the building," refreshing fields and

air in

in

watering the
"dead
worst

gardens.
and

Palladio these other

condemns rightly

and

stagnant waters, because

and
. . .

generate the very

troublesome waters." little This it is

of air

gnats
in

animals, which
is well curious

breed

and marshy putrefied

understood
to note

in these

days

in in

selecting a site,yet
a

that that
"

Inigo Jones
it is
a

side-note and

to

the

above

remark,
to build

states
a

beautiful
a

commodious

thing
tation transpor-

country house

upon

moat,

for the easy

one

of

goods
and

and

besides provisions,

may

water easily

gardens
This
to

other

grounds." oppositionto
modern Palladio's advice There fresh and also

is in direct

the

teaching of
a

sanitary science.
water

is also

the

for necessity be

good
in

supply

and

air,which

cannot

obtained

valleys

surrounded

by mountains, high ground.

two sorts

and

for

good views, by placing the building on having

found
an

Thus,
and

after

airy,pleasant,advantageous,
continues
master

healthy situation, Palladio

are

that and

of

houses other covered

necessary, the farmer

one

for the

his

family,the
need for Palladio's The stalls

for

steward). {i.e.,
appear
are

In

these many upon.

the of

ways

which (piazzas) labourers'

rooms

in dwelt

designs,and
and from and the

stables, he remarks, should house,

as

be

placed at
from the may
sun

some

distance

also

sheep,pigeons,etc.
be

; the

granaries
south,
for the

storehouses

must

lighted
dried

north, for the

be to the
; barns

better
so

preservation of
the

corn.

Hay-lofts

that

hay

may

be well

by

the

-r"i~

COUNTRY

HOUSES be at distance Palladio from

61 the house

threshing of
because the of

corn

should dust.

some

the

Thus

does

refer in detail to
a

position of
The

the various

dependencies of

country house
would
to
a

before

giving the plans of the houses he Italian sixteenth-century country

to

erected. house fore thereone

seem

have

had
In

very all of

different
our

requirements

in

modern

England.

master's
master

draughts
and his either with

central

corps de logisis provided for the

this has the and front

family,and
flush with entablature

of columns, generally a frontispiece wall

or

in

advance, and
either the side
are

crowned the

pediment.

On

wings containing the

stores

steward's Such

apartments,
in

stables, the
are

and

granaries.
at
some

dependencies
from the Palladio's in
i
.
"

England
and

generallyplaced
do
not

distance group.
as

house

often

form may

part of the
be divided

types of country houses

:

follows

regard to plan
Block Central block

Type Type Type Type Type

The
or

type (as the Villa

Capra) without
de

wings.
rangle. quad-

2.

"

(or corps

logis)with

3. 4.

"

Do., do., with

straight wings.
quadrant wings.
returned
are

"

Do., do., with

"

5.

Do., do., with

and offices
an

wings.
a

kitchen lower for

invariably placed in

ment base-

storey, and

upper

storey is often provided

and

used

granaries.
Capra

The

Villa

(alsoknown

as

the

"

Rotonda,"
It
was

from

its circular

(Plates25, 26, 27 hall),

Pius

and

28).
"

originally
as

designed for Signor Paolo "Referendary" to Popes

to

Armerico,
IV.

who and V.

is described He
"

appears

have

been
a

of

cultured
to
own

disposition,for
and

after

having
come

travelled settle at

long time

improve himself,

being

to

last in his

country, after the death

of

all his

62 friends hill." It is situated

one

ANDREA chose his abode

PALLADIO

at

country house
base
town

he

had

on

at

the eastern from

"as

of

Monte

Berico, about
Palladio delicious
a as

and

half

miles

the

of Vicenza. and of

describes
can

its situation

advantageous
on a

be

desired, being seated

at

hillock

most

easy

ascent,
river." Our

the foot of which Plates 26

seems

runs

the

a navigable Bacchiglione,

and

27
to

give an
have
on seem

elevation much
to

and

section. the
rounded sur-

master

been

impressed by
how it is

beauty of
and which

the

site,for he goes
hills
are
"

describe
a

by

several besides

that

to form

great theatre,"
This
owes on

all of excellent

them

cultivated, being very

fertile, abounding with

is

fruits and

vineyards.
works, and
views
our

probably
to

the best known

of all Palladio's
to

much sides.

its open
was

position and

the

excellent views

all

It

in consequence

of these each

that

master

probably placed porticoesto

central of the circular

of its four

faces. whole

It has

hall, 40
windows

feet in

diameter, carried
was

the

height
means

which building, in

to

receive The Four

its hall

lightby
has
a

of

the

dome.

projecting placed the

is
an an

at gallery-

the first floor level.

angular staircases bring

which
are

the central

portion to

square, each of
14

around

living apartments.
colonnade width of about

On

its four

facades

Ionic

projectingabout
34 feet. under The the the

feet and

having
house,
"

internal

the kitchen, basement, containing

of

etc., extends
and The

whole

the

for

the

use

conveniency of ground
floor

family,"as
some

Palladio
1 1

quaintly puts by
means

it.

is raised

feet 6 inches

of wide
a

sunny

of steps, giving access to each portico. For flights the Rotonda is undoubtedly a very excellent climate

and

suitable from

design, the
the heat
so

central the
summer

hall

forming
sun,

convenient the

retreat

of

while

ing projectray of

are porticoes

placed as

to

catch

every

available

"*

COUNTRY
sunshine proper The if

HOUSES also

63 protecting the
for and the house

so

desired, meanwhile
of their

by

means

deep

shadow. suitable

bedrooms,

however

period
central

and in

country, would

undoubtedly
the passages

be

dark

inappropriate
the

England,
to

as

also

leading from
this house very have

hall

each

portico.
remarks that of house
on
"

Inigo Jones's
interest. and the "that He
a

are

not

of and

great firm,"

remarks

it stands
must

solid been

great
"

sum

money and
at

spent in
is not

building of
the
to

this

especiallyfor keep
of roof the

the terraces."
set
"

In his time
on,

lanthorn
cover

the top of the

to

cupola
out

but

net
"

the

top hole
not

the flies ;

also

that

the

tyling does
and
a

look

well, considering the

richness is to be

of the statues

the

beauty

building."
have

It

presumed

that

lead-covered

would

been

preferable(see Plate
In

28).
drawbacks,
for this

spite of
it
to

these

design

has

exercised

an

extraordinaryfascination
imitated appears

European
The

architects,who
in

have

again
have the

and been

again.
It

first imitation Castle also

at

England
lington Buras an

Mereworth
was

in

Kent, by Colin
Lord

Campbell,
in

architect.
in

copied by
of

1729
now

his

villa
to

Chiswick

(used

asylum), which
on a

belongs
for the

the Duke

Devonshire, and
at

larger scale
Kent also at

Earl

of Westmoreland S.

Foot's

Cray Place,
and model for the

(now occupied by
On of

J. Waring,
it served

Esq.),
as a

Nuthall, Notts.

the continent
near Bagatelle,

original Chateau
of

Paris, also

for the Chateau which

was

Marly-le-Roi (sincedestroyed), a building

for The Louis XIV.

erected
in

by

the

architect,J.
built the
"

H.

Mansart,
at

1676.

sculptor Canova
same

also Like

house Teatro

Inverigo in Italyafter the Olimpico at Vicenza, it was

"

design.
to

still unfinished finish

when

Palladio

died, and

it was

left to

Scamozzi

his master's

work,

64
which many he

ANDREA

PALLADIO his with above

to

accomplished, according
and

to

own

account,
tells is
a
"

alterations
rooms

improvements.
the The exterior of
are

Palladio there view

us

the great walk

on

surrounding

hall

platform
the
what some-

i$i feet broad.

shows

dilapidatedcondition
the windows obtained from in the
a

this
not

building,and
executed, the
at

also

that

dome small

lightbeing

very

lantern

the

top of it.
Conti

House Pisani.
"

at

Bagnolo,
is
a

near

Lonego,
with

for

the

This upon

one-storeyedhouse
side of the
a

Doric projecting

porticoset
which
are

one

colonnaded

quadrangle, around
cellars. The the

grouped

stables,granaries and
7 feet
excuses

ground
Palladio

floor

is raised

above the

adjoining ground.
the

refers to, and because

positionof
be used in

stairs,as
to

being dark,
kitchens has taken
or

they
make

would

only

going
he

the he in

the attics.
care

In

two-storeyed houses,
staircases
"

says and

to

the

lightsome

convenient Bertotti and

places."
mentions that
;

that

the

wings

were

menced, scarcelycom-

the

plan
one

itself has of the

been

varied

ably consider-

in execution

only
a

porticoesbeing completed,
the

viz., that formed

of the few

in

line with

building.
which

This

is

one

country house

designs to
and

Palladio
2

intended

giving a complete quadrangle

House Ba'doero.
a
"

is of

type
Nobile

(page 61).
Francisco

at

La

Frata upon
a

for

the

Situated this
was

tributary of
is of used

the

Adige,
In

upon the

slight ascent,
country
no

building
much

type
in

4, which

in

following
Palladio's

centuries

England.
unbalanced the last

all of He

houses

symmetry
with middle the

is the

ruling idea.

evidently had
which the

sympathy
of with

that of

planning
century
In
deavoured encase

architect
to

associate

country buildings.

this

a.

COUNTRY
the

HOUSES
square
structure

65
with

corps
and

de
rear

logis is
Ionic

front

one-storeyed portico (this last omitted

a

in

execution)
crowned five feet. in the of
are

supporting
with The roof. the
a

entablature roof.
are

and The

pediment;
and
a

the

whole

hipped
The

floor principal

is raised

kitchens

in the
are

basement
as a

the

granaries
on

wings
block the

formed have and

quadrant

each

side

main

and stables

colonnade, behind
steward's

which

arranged
execution

the

apartments.
Palladio's and

In

it differs which
a

considerably from
second

original
the.
terior ex-

design,in
while the

portico is planned,
the
court

staircase

towards

is

differently arranged,
is been

interior
was

decoration
carried
out

in
or

"grotesques," which
has

mentioned,
House This

not

destroyed.
Marco

at

Casalto
of
a

for

the

Nobile

Zeno.
70 side

"

consists 60

by

principalsquare block, on feet, containing the living-rooms,

returned

about
either

feet of As

which

are

colonnades, and

is of

the

type 5.

in all Palladio's above the the of the main

designs,the ground
The

floor is-well
one

elevated side The

taining con-

ground.
block

wings
up

are

returned,
the
two

and stabling

the other

granaries.
storeys, and

front

is carried

is very

treated, the usual plainly The length of the hall is

of these vary
In

Classical twice in many

columns
a

being

absent.
portion pro-

the width" of the

favourite

Palladio, but

other

dimensions
his
own

considerablyfrom
regard
from
to

the

descriptionin
another

book.
been

this,Bertotti
the

suggests that it may

architect.

have

executed

originalby

House
THE

at

Gambarare,
NlCOLO
AND

on

the
DE

river

Brenta,
This about about 73
12

for

NOBILI

LuiGI

FOSCARI."
measures

is of

the square

type without
The

wings, and
floor
K

feet feet

by

53

feet.

ground

is

raised

66 6

ANDREA

PALLADIO

inches, the

kitchens of

being placed under,

steps, front
and and

and

above
to

are

bedrooms.

Flights
shows

back, lead
Ionic

centrally placed portico

The ends.
of many

pediment

of the

order. circular

plan

two

staircases,one
is

of them

having
the and

This

example

interestingas curiously it

being
is not

forerunner

of the in

eighteenth-century (or pediment

; but
even

portico)

houses

England
work.

mentioned

in Bertotti's

House

at

Maser
"

for
was

Monsignore erected of
two
on

Daniele
a

Barbero and has

(Plates 29, 30).

a

This

mound,

central

advancing
the

block

storeys in height, with

backwards
on

straightarcaded
and

wings,
main forms The the
30,
our

returned
rooms
an

each and

side,

connecting
The in

with
extent
at

the of the

stable about b-ack The

kitchen

wings.
feet the

whole

280

English
with is the also view of

length.
of in Plate many

courtyard
main and

is level front idea

first floor

building.
gives
a

given
shows

No. of

very

good

setting of
one

master's

country
Italian
treatment

designs, and
of the

of the weak poor and

points of

country architecture,

viz., the
which" in

ineffective in any many

chimneys,
as

this, as

cases, at

appear

merely
or

circular

without flue-pipes with

no

attempt
In
most

grouping
This of view the and form of

harmonizing
own

the architecture.

of Palladio's

drawings
shows the
an

chimney
columns

stacks

are

shown. in

also

Ionic unusual The had

at

(3

feet

diameter)

front, with
central which Fortuna is
a

arrangement

of broken

cornice Ionic

window. Palladio Virilis circular semi-

are capitals

of the

angular
of

noticed Rome.
In
recess

in

describing the Temple

the
centre

the back with

courtyard
in the

ornamented and

Ionic

pilasters, statues,
centre water

sculptured cornices
recess

festoons, and

of this passes

is

small

basin

through

which

running

t r

;" (
i
X
"

I -c "ftj

"

/"*

COUNTRY into lake ; from of the whence The

HOUSES
it is

67

led

by pipes

to

different

portions
more

house. than

first floor of this

no

design

is of

importance
the
on rear

usual,
The
are

doubt, because

it is level

with

courtyard.
the the floor

windows

of this storey which somewhat hall from is of the

too

give
to

to

courtyard
staircases

perhaps
The entered

close

those

of the

beneath.
are

cruciform

plan, and
Plate

arcades

(see

29).

House
"

at

Montagnana of

for

Nobile

Francisco of
a

Pisani. central
taining con-

The

plan

this,which

is

unusual, consists
80
on

block

(the only part completed) about

a

feet

square,

columned

hall
two

with

rooms

either newel

side,

two at

storeys in height and

the
at
a

elliptical open
both
two

staircases

rear

of the house. of 30
on

On

sides

of the

main

building,

distance
rooms

are feet,

oblong

structures

three

each the

floor ; connected

with This

the

containing main building

was

at by galleries

first floor level.

two streets cut

peculiar plan
into three with

necessary The and Doric niches front Ionic

because of the

the facade

parts.
Doric the Four

main

building
with Ionic contain

is ornamented

half columns
nor

their entablatures

; neither

columns in the

the

pedestals having
statues

bases. Seasons

porch
house be

of

the

by
tions men-

Alessandro that death.

of his
a

Vittoria, a
this

pupil
was

of

Sansovino.

Palladio
to

unfinished, owing
in

his few

client's sections

It is to

regrettedthat
are

his
seems

book
to

country
and
one

houses

given ;

he

have his

thought
designs,
of the that the

plan

elevation
in
most at

sufficient
cases

to

explain
the

but

Bertotti
case

has

made with this

up
the

and deficiency,

in this Doric the

deals Ionic

length
in

proportions
He the

and

columns
are

facade.

finds of

entablatures whereas

about Palladio's

one-fourth treatise

height
is

column,

in

one-fourth

given

68 the

ANDREA

PALLADIO for the

as

correct

height
The desire

Doric, and

one-fifth
to

for the result in each

Ionic from

entablature. Palladio's In

similarityis supposed
to

equalize
that this be

these

features

storey.
men,

it reality made each

shows of
to

Palladio, like all sensible

for

only
allowed

rules
case

sort

general guidance,
to

and

treated

according

its

quirements. re-

House
"

at

Piombino
a

for

the

Nobile
to

Giorgio the
an

Cornaro.

This the

bears last

strikingresemblance
that of
a

central open

portion
to

of

design, except
It consists columned the
centre

it has central

portico
70

each

facade. with
In

block
are

about

feet the

square,
rooms.

hall, around
of each

which

grouped
the and

facade

is

two-storeyed
upper

portico ;
On
annexes,

the
on

lower

Ionic, without

pedestals,
entablature

Corinthian,

pedestals,supporting
side of the the is main for

ment. pedietc.

either used

building are
The

singleroom
hall with

kitchens, servants'

bedrooms,

The from

ground
the

floor

only partlyvaulted.
has four Ionic has which

leading
angular
ing build-

colonnade

columns
a

volutes, and
to width
as

this apartment, five to very

proportion of length
niches. from the This

six, has semicircular

much varied the

has

been

in execution

Palladio's

in description, especially

proportionsof
Venice

rooms.

House
for

at

Morocco Mocenigo. about

100

(between
"

and

Trevigi)
has

Leonardo central 35 block feet

In

the

design this original

a

feet

by

75 feet,with
front
to

large hall
back, with
the facade posed. super-

about central
are

wide,

extending
in Ionic and
were

from

double

staircase of the

single flights.
Corinthian
to

On

colonnades The

order the

returned

wings

contain

offices,

wine-pressesand

stabling.

COUNTRY

HOUSES

69

According
be used servants,
as

to

Palladio's

designs
storeys
small

the above

ground
for

floor

was

to

the cellars, while the

mezzanines

granaries and
the master's the

upper
a

contained

apartments.
scheme have has been in

Only
been marked

very

portion
if Palladio's

of

original
it would

carried

out,

but
to

completed
usual

contrast

practice,

for it is four for

a

storeys in height,a very

house. It has with been
town

unusual much

arrangement
criticised
as

country
more

being
refers

in

harmony

buildings.
able
to

Bertotti quakes. earth-

to

it

curiously,as

being

less

resist

House three in miles and

at

Panzolo

for

Leonardo

Emo.

"

This unusual much

is

from
seems

Castel-Franco,
to

it is somewhat carried
out

plan
central

have

been
own

without the

departure from
a on

Palladio's about

ideas. square,

It

is of

type

3,

block side

70

feet

with

straightwings

either
an

is

arcade. block and

central kitchen

consistingof apartments, in front of which The buildings are one storey in height,the in which the are having a high basement
In

offices.
on can

his

descriptionof
fact under

the house
to

Palladio covered This is of

lays great stress arcades, people

true, but
arcades
out

the go

that, owing

the

everywhere
into sunless and

shelter. the which

when

introduced in dark
a

England
rooms

system
are

results

quite

of

place in

grey

climate.

House
ceno.
"

at

Final is 70
of

for

the

Nobile in

Biagio
a

Sarracentral
taining con-

This about the

the

type
45

plan, having
returned The the

block

feet

by

feet,with

kitchens, stablingand
as

stores.

wings, ground

floor is

is

raised,

usual, about
a

feet from The

ground,

and

approached by

of steps. flight

central

portion only

70 of the and above the

ANDREA

PALLADIO

design
rooms

has
;

been

executed, consistingof
are

hall portico, and

over

"four the

cellars

placed
is
a

in

the

basement,

principal apartments
house.

granary

extending

whole

House
"

at

Ghizzole of the 55

for

Signor

Girolamo

Ragona.

This
a

is also

type 5 in plan, consisting originally

feet square, from the side of which the the branched

of

central
were

block
to

wings
front.

have

off, returned
to

towards

The and

ground

floor

was a

be

about

14 feet above

ground,
them
a

approached by
entrance to

of steps having flight kitchen and service

under

central The

the

ments. apart-

central A It
was

block

is two

storeys in height above

of the

the basement.

small
on

portion only
an

design has
house block

been whose and

a

completed.
walls

the site of
rooms

old the

Gothic central

existed, and

two

of

portico were
House situated

apparentlyadded
at

by

our

master.

Pogliana from in

for

Conte

Pogliana. It consists
a

"

This
a

is

twenty miles
two

Vicenza.

of

central

building
each of
a

storeys

height, with
are

lower round

building on
three with and sides the

side, beyond which

square, and

colonnades

serving
out-houses. above side
in

for

inter- communication The cellars

are

stabling
that
a

below

the
tions menas

granaries are
one

the

main
as

building.
a

Palladio the

is utilized

yard

and

other

garden.
As is usual has been in
our

master's
even

designs, only
two

the

central of this India also

block
are

executed, and
The house
was

apartments

wanting.
Anselino

adorned
of

by

Bernardino and
In

and

Canera,

painters

Verona,
same

by

Bartholomeo
to

Rodolfi, sculptor of the

the usual

place.

the

elevation

portico

is

absent, its

regard place being

COUNTRY taken similar Adam three

HOUSES double

71

by
in

openings, having
to

arches,

in

very

c/?

manner

that

so

frequently used
The
a

by

the

brothers is

the

eighteenth century.
consists stairs of

principal floor
rooms

raised about and them

two

six feet and

portico,hall,six
so

staircases, the
uncomfortable

being

high

as

to

render portions pro-

very

according
rooms are as

to

Bertotti.
:

The

of the various
a

follows

the

portico has
one

length

of two times

and

one-third
; the

times, and

the
a

hall

and
two

two-thirds
and

its width their the

same

large rooms
; the

length of
rooms

one-third All the

times have

width

smaller

being
one-sixth Palladio's but

square. times

height,viz.,one
of
some

and
in

width.to

Most have
case

the

apartments

designs
we

appear
not

arithmetical them

proportion,

have the

in every

dealt with
are

for fear of wearying

reader. the
two

The

facades

this instance four

one

length of
of which

the

arranged similarly; in corps de logis is divided into

for

also

parts,
each

are

employed

the window

portico and
on

for

the

portion containing

the

each

side.

House Francesco

at

Liziera,
Valmarana.
a

near

Vicenza,
"

for

Signor
is

Giovanni the

In

plan

this

of

type

1,

consistingof
on

block, about back,

two

with 85 feet by 65 feet,

porticoes
the
were

the

front the

and upper

storeys
Four

in

height ;
staircases

lower
to

Ionic

and

Corinthian.

be

reached
rear

through
front

and

these latter giving on to a porticoes, a portico courtyard. Only the hall, two rooms, the
an

with

Ionic

columns, and
to

attic

over

have

been

executed.

It is curious
as

observe but he

that does

Palladio this
in

talks of this other The

cases,

building
his

completed,
"

where

designs were
Leoni, and

commenced. scarcely
N.

architects

Bertotti,
which
;

N."

have with

all the

published drawings originalideas

of

they think

correspond

Palladio

72
as

ANDREA these

PALLADIO it is of

vary them.

considerably

no

importance

to

discuss

House Ludovico
and
1, 4, and
near

at de

Meledo Trissini

for

the

Conti
"

Francesco

and

(Plate 31).
kind, being
a

The

plan
the

is of of
"

an

usual un-

ambitious 5. The

combination

types

central has

block

resembles
In
was

Rotonda,"
are

Vicenza, and
returned

quadrant wings.
The
a

front of these
to

other feet

wings.
has

main

block

be about about 40

120

by

90

feet,and

central various

circular
rooms

hall and is

feet A

in diameter

surrounded

by
the
"

staircases.
on

columned

portico of
because Palladio

Corinthian

order

each
a

face,
fine

placed there
prospect." being
a on a

every

front of the house its situation

"

has
as

very

describes

very

fine,
of

hill that's washed

on a

by
the

little river,in the

midst

spacious plain and

is set well

well-frequented road."
lower

The
means

house of of the
are

proper the

away

from
a

porticoby
on some

quadrant galleries ;
plans, in
intended which

great improvement
the

smaller

granaries and
The windows
to to

farm

offices

in immediate whole
was

proximity thereto.
to

cupola crowning

the

contain
a

lightthe
group, The

central but in

circular execution
as

hall,and
these

forms

fine terminal have been

the

windows in the smaller roof.

omitted.

kitchens,
and

usually seen granariesin

House
at

plans, were

in the basement

the

Campiglia
to

for

Signor

Marco different The

Repeta.

"

This
to
was

appears

have

been

designed with designs.

of series
a

intentions
block
on a

the

generality of
and three the

Palladio's
a

centre

omitted

instead

rooms so

fronted
that of of the

porticoforming buildings are

itself." The of

parts of
same

square, with

"farm

order

that

the

master's
are

angle porticoesto

the front

the

house

31.

HOUSE

AT

MELEDO.

COUNTRY

HOUSES the divers

73

peculiar, and
dedicated
to

so some

are

chambers,
"

each

one

particular
and

virtue

Justice, Charity,
to

etc., "with
These
were

eulogiums

picturesappropriate
Battista

each."

painted by
Bertotti
a

Maganza,
found in

Vicentine

painter.
When been visited
new

the

place he

that

it had

burnt, and

building erected

quite a

different

character.

House Teodoro block

de

at

Cigogna
"

for

the

Conti

Eduardo

and

Thiene.

It is of

type 4 in plan, viz.,a central

with cellars raised and
as

with

quadrant wings, connecting

either the side. and The the

on granaries

ground
back
two

floor

is well have

usual, and

front

facades

Corinthian

porticoes ;
crowned

the columns entablature

extending
and
are

storeys in height and

The
as

with

pediment.
carried up he the

angle

rooms

terminating the facade

shown
was

turrets.

It

is it

thus

in Palladio's

book, and

begun during his lifetime,but progressed very slowly, for when

mentions of
even

states clearly building must

that

have

Bertotti could had and

visited make

it, he

that

without
one

the

plans, he
arcades

nothing
to

it,as
that

only
was

of the side
a

been

erected, and
that

of

different

design

proportion

shown

in Palladio's

plan. (near
Palladio's

House Conte

at

Angarano

the

Brenta),
of the

for

the

Giacomo

Angarano,
to

is another

unexecuted
a

designs. According
type 5, but
forms the
a

book, it has
and

plan

of
It

with

additional

colonnades
"

courts.
or

most

admirable

arrangement,
and the

the court

yard

for

country necessaries distance, and

colonnades which

garden being
from attaches the
so

within

venient con-

yet well away

Palladio
L

house much

proper."
import-

The

to

74
ance

ANDREA in

PALLADIO of

country houses, for the

cover,
are

purpose

reaching
in this has

each
case.

part under
The

perhaps
about
two

rather feet

overdone square

central

block

65

attached

Corinthian entablature this

as

columns,
and

storeys in height,surmounted

by
Doric exists who life of

pediment.
been

Although

Palladio

mentions

begun, yet apparentlyonly a few columns were actuallyerected, and the house which architect was designed by Dominique Marguti, an having
died in Venice in 1721,

according to Temanza,

in his

Palladio

(p.367).
Quinto
five Conte from efforts Ottavo Thiene. is This
one

House is situated

at

for

"

about
most
as a

miles

Vicenza, and
in

of
He

Palladio's refers to it for it has of the

same

monumental and palace,

on one

regard to plan.
situation
a

adds,
side

"

the and

is very

fine,

the Tessina river

on

pretty large branch

a

the does

other."
not

Only

small with

portion
any of is

has the

been

executed. of of

It

correspond
The colonnade all sides.

types
means

plan previously mentioned.

a

entrance

by

hexastyle
ill defined indicate there

Doric
on

into the The

main
use

court,
these and He

surrounded
rooms are

by buildings
in

of

Palladio's

book, but

the

plan
to

section mentions fact that

will

their
are no

symmetrical disposition. principalstairs, owing

"

that the

the

upper

part of the house

serves

only
As

for wardrobes,
tioned, menseems

stores, and
this unfortunate intentions It has the been

lodgings
is
on so so a

for

servants."

before it

plan
we

magnificent scale, and

little information of
our

have that

master's been built. side of for

and

small that
to

portion
colonnades
entrances custom

of it has
on

surmised
court
were

the be

either the

interior
"

the Greek

to
as

house

visitors

in imitation Book

of the

mentioned

by
lived

Vitruvius,

VI.,

Chapter

X.

"

in

which

they

COUNTRY their hosts, and their

HOUSES
was complete liberty

75 accorded
to

apart
them

from

during
House
at

sojourn.
Signor Girolamo
de

Lonedo
of
an

for

Godi.
near some

"

This
river.

is also
It
was

ambitious

type, and
in

is situated 1542,
or as

erected central is about and

by
no

Palladio

say the

in 1540.

The and

block

is raised

about

15 feet above been

ground,
The

feet

by

55

feet ; this has from the

was

entirelycompleted design.
the have
courts

shows and

deviations
are

the

original
and
to

kitchen above.

cellars This
to

in

basement

granariesare
an on

main

block

designed
are

entrance

courtyard
side, around

and itself,
were

there
to

other the

either and of
our

which The

be
are

grouped
a

stabling example
an

outbuildings.
master's

facades
to

very

poor

genius, due
It is
an

the

fact of its in which The

being
has house

early effort perhaps.

the usual decorated

instance

he

dispensed with
was

portico and
"

pediment.

by

three

painters

Gualterio

Padoano,

Battista

del

Moro,

of

Verona, and

Battista

Venetiano.

House

at

Santa

Sophia

for

Conte from

Marc

Antonio and is his

2,

Sarego,

is situated of
In

nearly

five miles works

Verona,

yet another

his

uncompleted

differingfrom
plan
is of type

drawings.
viz., an
a

open

general arrangement court, quadrangular

two

the in
rooms

form,

surrounded this of

by
part
this The

colonnade, with

storeys of

behind,
In

being reserved
are

for the

family apartments.
the include
seems

front

two

projecting wings containing

are

stabling,etc.
are

columns
as

Ionic

and
"

two to

storeys, and
become
not
so a

rusticated

to

their

shafts,

as

country
true
a

house,

to

which
as

nice and

finished

works

bear The
to

resemblance ported supIonic

plain and
on

natural

ones."

first floor the lower

are galleries

attached pilasters

sides

of the

76 columns,
balustrade level.
as

ANDREA

PALLADIO

in is

some

of

our

master's the

town

designs ;
at

while

placed between

columns

the

first floor

House is

at

La

Miga

for

the

Conte

Annibale Palladio
to

Sarego,

yet another
the

unfinished

design.
farm

Although
buildings
feet

usually
part of
It is
two-

grouped
the of the

stabling and
is
an

form

design,this
block

example
I, about

of their
80

being separate.
by 65 feet, with
in front.
on

type

storeyedportico of
intended
to

Doric

and with

Ionic
a

columns roof

It

was

be

crowned

hipped

all sides.

The

foregoing country-house designs are

book them
as

all mentioned

in After of of

Palladio's

being
on

erected
to

or

partly erected.
the

describing
the Vitruvius. suited carried reader
out to

he goes

discuss remarks
to

country

houses

ancients, referring
He
to
we

to

the

and

instructions of
"

then

proceeds
intend book.
to

give draughts
as

tions invennot

different do
not

situations," but
describe

these

were

them, but refer the

Palladio's the
a

Before for

we leaving the subject,

might

mention

design
block

Signor

Leonardo

Mocenigo,
quadrants
Hall
to

consisting of
because the would it

central

connected the

by

four

angle blocks, containing

was

stabling
at

and

dependencies,
by
it If executed

followed Adam and have

in

England
other formed adds
a

Kedlestone

brothers

by

architects.
one

undoubtedly

of

Palladio's which shows

finest the

country
treatment

palaces.
of the

Bertotti

section

interior

courtyard.
houses
to not

There which
are

are

ten

other

mentioned These
to
are

by

Palladio in Ber-

often and

attributed may be

him.

given

totti's book

referred briefly

here.

COUNTRY House Montecchio

HOUSES

77
for

The

at

Precalzin,
1 as

Signor

Pietro

Cerato,

is of

type

principalfloor,raised about 8 approached by an external staircase.

consisting of
and roof. The kitchens and servants'
a a

regards plan, and has a the ground and feet above

It is of the and
to
one

usual small

plan,
one,

hall, three

large rooms leading

offices
are

badly-planned

staircase

granaries in
placed in
has the

the

are

ment. base-

Externally

the three

floors

franklyexpressed,the
and
a a

projectingporch
top, while

is without
are

columns

pedimented

the walls

crowned

by

cornice.

The
the

House

at

Montecchio

Precalzin,
a

belonging

to

Contessa
a rooms

Tornieri

Schio, is of
It
was

similar

type, but
The
more

without

projecting porch.
are

only partly built.

up the
as

angle
ancient

shown,

carried

towers.

house that

originally occupied
altered this him instructed

site, and

it is

lieved bethe

Palladio

into
not

the present
to

shape,
the

Count walls.

having

destroy

ancient

House is
to

at

Criccoli
as our

for

the

Conti first

Trissino.

"

This

generally quoted
have been
it
as an

master's
to
a

work, and

appears Bertotti
was

alteration restored years

was more

previous building.
this

describes

in

1536, remarking that Palladio

that
was a reason

only eighteen
that in the
we are

old, and
not

for presuming

it

his

design.

This

reason, not

however, exist,as, if
years of
In

lightof
to

recent

chronology, does
was

believe time.

Gualdo, Palladio
Some of date

twenty-eight

age

at

this

this
1, the

building
central

as

1534. of

plan
facade

the

building is
in two

type

portion
with

the and

being

storeys and

ornamented

Ionic

Corinthian

pilasters.

78
The is also
House

ANDREA

PALLADIO

near

Vicenza,
be
a

for

the

Conte Palladio.

Tornieri,
It is of also
a near

supposed
on

to

restoration

by
and

Vicenza,
and

the

road and

to

Verona,

consists

ground provided
in

principal floor
stables is about
a

attics.

Side
etc.

wings
The

are

for the this

case

and
10

outhouses,

ground storey
The Ionic

feet 6 inches four columns Doric

in

height.

principal

floor has
to

portico of

of the order.

order, those

the

wings being
at

of the

House This
an was

Caldogno in

for

Signor is

Pietro
an

Caldogno. alteration it
was

"

erected

1570, and
traces

probably
in
are

to

existing building,as
one

indicate
1

that

not

all

built at utilized the

time. the

It is of

type
There in the

plan, of
no

three

storeys,

in

usual
set

way. back

orders, however,
the

porticobeing
as

building and
interior and

openings

formed Paul

rusticated

arcades.

The Fafolo

has

frescoes

by

Caliari, Jean Antoine

Jules Carpioni.
Conte Bissari.

House

at

Retorgole time this

to
was

for

the

"

During
he in

Bertotti's

in

ruinous he

condition, and
had been
are

relates

that, owing
that

inundations,
had

difficulty
done
to the

and measuring it,

great damage
His members

building
account

in consequence. this from various

drawings

made

up

on

of
It had

scattered farm Doric is

about

the

site.

three

storeys, the stabling and

buildings porticoes,
Ionic, and
with
a

being
the
over

in

separate disconnected

wings
The

with

columns

having
unusual

no

bases.
an

portico

its entablature
an

is

attic of windows

crowned

pediment,
House is about
to

treatment.

at

Bertesina miles
a

for

Signor

Marcello.

"

This

two

from

Vicenza, and
in

is of type the
centre

in
one

regard
side,

plan.

It has

large vestibule

of

COUNTRY

HOUSES the other. There the

79 is the

and usual and that

hall, cruciform basement,

about

in 8

plan, on
feet is vaulted. The

deep, containing
There
is

offices,
evidence

the

principal

floor

is

no

it is Palladio's

design.
with

facade

unusual, the walls

being ornamented
The House
is
an at

Corinthian

on pilasters

pedestals.
Francesco
on

Malcontenta,

for

Signor

Foscari,

important design portico, reached

It is curious mention that this side.
to

of

type
an

plan,

with

projecting Ionic
steps
does
on

by
to

external that

flightof
Palladio

each appear does

observe

not

building
and house of

in his

work, yet
"

Bertotti of the in

not

doubt

it is his.

Temanza,

in his

Life

most at
our

celebrated

Architects
to

Sculptors," published
as

1778
that

Venice,
master
was

refers
to

this notice

the

work

which

brought
and Bertotti

the

the Venetian in Venetian

nobility,
territory.
Palladio's

it

the
to

first executed fact that appears

refers

the
none

it differs little from in Leoni's is of the the has edition. usual

design,although
it is very similar

Internally three-storey
of the

to

others, and

type.

The

ground
the feet.

storey, forming

basement
an

design, contains
of about the eleven

kitchens, etc., and

The

internal

height
its
a

principalor

first floor vaulted side

has, behind

projectingportico, the cruciform length forming the height,and on each

set
are

hall, half

of this hall is The staircases

of three
at the

rooms,

all of which the

are

vaulted. for

back, and

attic is utilized

granaries, etc.
Signor basement

House is also of

at

St.
1

Croce,

near

Padua,

for

Nolin, storey,

type

plan, and
while

having
with niches

the usual

floor principal and

attic
over

ornamented
;

Ionic with

on pilasters

pedestals,
the it to be

statues

ornament

wings.
genuine,

Although
Bertotti

Temanza doubts its

and

"

N.

N."

believe

authenticity.

So

ANDREA

PALLADIO

House Conte

at

Vancimuglio,
Horatio

five

miles

from

Vicenza,
part counter-

for

the

Porto,
of the

is

an

almost
at

exact

in the

plan

and of

elevation

house

Malcontenta,

with

exception
the

differently
of this

arranged

staircases.

Bertotti

doubts

authenticity

design.

The Padua

House

at

Stra,
for

on

the

High

Road

between

and

Venice,

Signor
block staircase

Jacopo
surrounded

Foscarini,

is

of

type

in

plan,
An

viz.,

central

by
as

quadrant
to

colonnades.

external in front and

of

leads,
is
an

usual,
Ionic

the

principal
with attics

floor,

which

external The

portico,
and

entablature
are

pediment
usual.

over.

basement

occupied

as

32.

IL

REDENTORE,
PLAN.

VENICE.

CHAPTER

VII

CHURCHES

PALLADIO'S
in Rome and others book his

studies Book be
seen

of

the

ancient he In

temples
treats

are

denced eviin this

IV., wherein
in
on

of

those
to

to

Italy.
the
as

his

preface
of

particular
raised
"

he

dwells

importance
follows
to
:

buildings

for If
to

devotional and end

purposes,

labour the

industry
that and
in

are

be

laid it

out

upon have the the

any the least

most

fabric,
exactest

all

its

parts

should

symmetry
is to and be

proportion,
in those

this, without
wherein and the and bestows

doubt,

practised

temples
the Creator and in

gracious

all-powerful
to

God,

giver
best

of

all

things, ought
that such For
utmost
our

be

adored may

by

us

manner

abilities

permit,
as

be

praised

thanked upon
use

for
us.

manifold if
men,

favours in the
to

He

continually
of their and
are own

building
find
out

houses,
excellent

the

diligence
other

skilful

architects,

with be in

capable
more

workmen,
in the

they

certainly
of churches

obliged
;
so

to

much the

diligent
their

building
aim
a

and in

if the and and

former

principal
to

be

convenience,
to

latter

they
of

ought
Him

have in

regard
same

the be

dignity
invoked

greatness

that

the

is

to

worshipped."
In

Chapter
for the

I.

he

discusses
to

the the

situation

chosen
;

by

the II.

ancients the

temples
of

various
as

gods
circular,
refers

in

Chapter

various

forms

temples,
cruciform,
M

quadrangular,
to

hexagonal, octagonal,

and

the

fact

that

82

ANDREA

PALLADIO those of circular and

Vitruvius form. He because

only

discusses

quadrangular shape,
part

then it is

speaks strongly in
"

favour

of the circular

alone

among

all
.

simple, uniform, equal, figures

the
. .

strong and

most

capacious
from
to

extreme ; it

in every

being equally
most

distant

the

centre

is, therefore, the

infinite
essence,

proper and

figure
the
as

show

the

unity,
The Saviour

uniformity
is referred this form

justice of
cross on

God." which the

cruciform
was

plan,
"

as

representing
to

crucified,
says,
In

commendable

by Palladio,
of S.

who

I built

myself

the church

Giorgio Maggiore
kinds of rectangular of their I

in Venice."

Chapter

III. treats

of the

seven

different the

temples, according
columns, viz.
i. 2. :

to

disposition

In

antis

Prostyle Amphi-prostyle Peripteral

Dipteral

Without J-

porticoes.

3.

J
1

4.

5.
6.

With

porticoes.

Pseudodipteral Hypaethral
IV. refers
:

7.

Chapter

to

the

method

of

spacing

the

inter-

columniations, viz.

Pycnostyle, i| Systyle,
Eustyle,
2

diameter. diameters.
,,

2|
3

Diastyle,
Our
master

,,

more Araeostyle,

than

3 diameters.

refers to the
V.

Eustyle
deals used

treatment

as

the best. of

In

Chapter
and
or

Palladio

with

the

compartments
ancient the fact that

temples
circular

the

proportions

in the
to

examples,
the

quadrangular, and

refers

33-

'I-

REDENTORE,
FRONT
VIEW.

VENICE,

34-

II.

REDENTORE,
ELEVATION.

VENICE.

FRONT

35-

IL

REDENTORE,
SECTION.

VENICE.

CHURCHES churches
or

83
like the halls of

of his time

were

built very

justice
the

basilicas,in which
he

the
as

porticoes were
his
reason,

placed
the

inside first

and building,

gives

"That
our

who,

being enlightenedby
accustomed of

the

truth, embraced
Gentiles
to meet

were religion,

for fear of the persons,

in the

basilicas that this fit

private
was

where,

observing
. . .

afterwards have
not

form
to

very

commodious,

they

thought
added
"

change
To

it since." basilican

this

plan
and
. .

he' says then

there

is and

the

sacristy or
which The ancient had bells

vestry
are

towers to

steeples, in
offices." the several Palladio

hung
in

to

call the

people

divine describe

remaining chapters in
temples
churches
at

this book

Rome,

Italyand
he

elsewhere

which

assiduously
The

measured. which
we was

called

upon each

to

design

were

mostly
Il This built

Venice, and

will describe

in turn.

Redentore,

Venice
on

(Plates 32,
the island of of

33,
La

34

and

35).
"

church, situated
at to

Giudecca,

was

the the

expense Redeemer

of the

Republic
the been the

Venice, and
of the

crated conse-

for the

deliverance
town to

city from
Palladio's which which On

the

plague

which
seem

ravaged
to

in

1576.
a

instructions should

have

design
number that

church

represent
induced
to

expressly
him
to

devotional
a

idea, and
of

probably
reference of
a

provide
be
arm

chapels.
the three

the

plan
aisles in

it will

seen

it is in
are

form

Latin in

cross,

in the
on

long

of which side dome of

chapels
which is

formed twice

the

each A

the

nave,

its width
on

length.
four arches

crowns nave

the

crossing,
aisles,

supported
and

the its

defining the
to
a

and

having
of the

base dome

brought
from The

circle

by pendentives.
is

The width

height of

the

the

ground
at

2TV times
end of

the the

base.

sanctuary,

the

south

84

ANDREA semicircular

PALLADIO of Corinthian while the the

screen

building, has
and also contains

screen

columns
are

the

principal altar,
form. Behind

transepts
is with

of semicircular

placed

the

choir, severely plain,agreeing in

ideas. of with The walls of the interior
are

treatment

Capuchin
an

ornamented in

by

order and
are

Corinthian entablature between The

rest

half

columns,

io| diameters

height
columns

one-fifth the

of their and side

height ;
have

these

coupled
them. and

chapels
to

two

niches
are

between

arches

the

chapels

semicircular Corinthian
more an

upon The

impost mouldings supported by height

width. of these Each

pilasters.
than twice internal the
nave.

openings
chapel

is

rather

their

is crowned the

with arch is

semicircular The and

vault, corresponding with

of the the
nave

to

height
rises in this from

vault, which
entablature
are

of

brickwork,
10

main

is

65

feet

inches, and

vault semi-elliptical Arches walls of this

semicircular
are

arches

lighting the
lower in the

nave.

form
to

also

placed
The

chapel aisle
main
nave

in order

lightthese

portions.
facade
has
a

order
; the

of inner

Composite columns,
ones are

pressing ex-

the interior the

an

half

columns,
support
which

angle

ones

are

pilastersio|
of the The

diameters in

high, and height,over

are as

entablature
a

one-fifth

column

is and

pediment.
have order
an

pilastersthroughout
in upon the
a same manner

diminished,
the columns. which wide space with
as

entasis

This is
as

is raised the
on

in stylobate,

the

height of
is
as

managed
the
nave

of steps, which principal flight

plan.
are

On

either
as

side

of

the

central

the

side

chapels

designed
columns church carried

wings,
the
same

ornamented
same

Corinthian

pilastersspringing from
Half the
of
are

level order

the the and

principalorder.
central door

of this and

flank

support
the

entablature lateral facades.

pediment, and

also

round

36.

S. GIORGIO

MACGIORE,
I'l.AN.

VENICE.

CHURCHES On either flanked The side of the central

85

doorway
facade

are

niches

for and

statues,

by

pilasterssupporting
part of the
The dome

entablature is

pediment.
and

central

63

feet wide
of

75

feet

high.
interior

walls, vaults, chapels, leaves

are

capitals and
the facade the side

of

brick, while
windows and

the

bases,

imposts, entablature, dressings to

are

doors, and

of Istrian taken

stone.
masses

Above

the walls

separating
tresses butparison com-

chapels are
to

of masonry, of the of
nave

forming
The

resist

the

pressure with

vault.

of this

facade

that

S.

Giorgio Maggiore

is

interesting.
S. Giorgio differs Maggiore the

(Plates 36, 37
side these aisles, The

and

38).
"

The

plan 1556,

in principally

taking the place of

is dated of the the

the side and the

chapels
facade

in II Redentore.
A

church

1610. S.

different

treatment
was

sanctuary

is also which
It
to

adopted.
Palladio

Giorgio Maggiore
in the the
owes

first church
state.

erected

capital of
Benedictines its
own

the

Venetian
was

to belonged originally

and

attached

their monastery.

It

picturesqueness largelyto
name,

its end

position on
of the which

an

island

of its

facing the
Piazza of St. The

eastern

Grand
a

Canal, opposite the

of
nave

Mark,

from

splendid view
a

it is obtained. 40 feet in of

plan

is

cruciform, consisting of
about half is that width. twice

width, and
nave

aisles
to

The its
over

length
width. the and

the

up

the have
structed con-

crossing

about

The

transepts
is
a

semicircular

ends, and

crossing

dome timber

of internally lead. the One

brick the

externally of
aisles

and

bay beyond
and and
at

to crossing is planned similarly

nave,

this

point

the

are

stopped, and
without

the

sanctuary

chapter-house are
three

continued

aisles,

being

raised with

steps.
statues

The and

corated chapter-house is richlydeother ornamentation. In

niches,

86 the interior

ANDREA

PALLADIO order
on

Composite

of columns

and

ioj pilasters
of the
not

diameters column in

in

height,placed
in
nave

a pedestals, quarter

height, ornament
as

the

walls, these

columns

being coupled
Between
on

II Redentore

(Plate36).
semicircular

the

columns

are

arches, resting

the entablature

of the smaller The

coupled

Corinthian which

pilasters
extends

without
over

pedestals.
much bolder

soffit of these

arches

the width
a

of two and

pilastersis
better

of considerable than the

depth, and
thin arch

has

appearance

in II Redentore. The the

proportion

of the

nave

arcades the width. the

is somewhat
A

lofty,
vault of the

opening being 2}
Its is of

times

brick

semicircular
nave.

outline, stilted above

springing,crowns
feet. of II The

height
a

above similar

the

floor is 70
to

external

facade
abetter
on a

very

type

that

Redentore, but

proportion
main order
are

is obtained

by raisingthe principalorder
minor order without
one.

pedestaland

designing the
is

The

Composite, restingon
upon
entrance
a

which pedestals,
3 feet in
are

in their turn The the has

seven

placed
at

plinthabout
to

height.
in

steps
of

the

the church

formed

depth
four

this

plinth.

The

central

portion

of

the facade

half columns with of the

supporting
The which

entablature
are

and

pediment
the The the

crowned

statuary. columns,
order

pedestals
have
as 10

one-third

height
smaller

diameters.

Corinthian half main

which,
on

decorates pilasters, each

aisles supports of each with

on

pediments
facade
are

wing.

In

the centre
urns

the of

niches

filled with

and

busts

eminent central

senators,

flanked
is

by pilasterswith
open solid. up
to

pediments. impost
to

The

doorway
added

only

the

; the semicircular

portion being left

was

According
Scamozzi.
was pleted com-

Temanza,
also

this facade
us

by

the architect of the church

He

informs

that

the and

interior

in 1579, the choir

the facade

being still unfinished.

CHURCHES Palladio
at

87
and the

died

in the

following year,
of the

facade

was

pleted com-

the commencement

seventeenth

century.
little church The

Church is isolated differs from

at

at

Maser

(Plates
the end the

39, of

40).
"

This

in

position at
those
It of

long

road.

plan
of in

larger churches having

an

already
and

described

Venice. and feet,

is circular,

internal

diameter describes

40

is of the

type Palladio
leads
two

admires

his Book
A

IV., Chapter II.

wide

flightof steps
order, with
into

to

projectingportico of
and
a

the

Corinthian

lateral arches The diameter

central
of

doorway
and

leading
has

the

church. of the the of

same course

length
of the
as

this

portico is nearly
Palladio
at

two-thirds followed which

church,
in

proportions
had
in

the

Pantheon

Rome,
whose of the is
as

been

measured of

by him,
the

and

portico
interior.
two to

has The

length
of
at

two-thirds the

diameter
to

width the

portico in
has

regard
The

length
interior half

five,as
of

Pantheon.

circumference

the inches

church in

eight

Corinthian
an

columns,
and

feet 3

diameter, supporting

entablature

gallery,which
from the

is reached A dome

by
crowns

the

smaller the

circular

staircases

portico.
a

whole, lightbeing admitted

From

through
three
are

somewhat branch

high
off,
circular semi-

lantern. the fourth

the the

central
entrance.

space

recesses

being
struck

These

crowned their

by

vaults,
walls
In
are

are

occupied by altars, and

the
same

segmental portion. by
five. of of the flanked

from

centre

as are

the central niches The

as

the

four

other

intercolumniations with is to

pilastersand
interior The of the exterior

crowned church

pediments.
the diameter has
a

height
six

is to

facade
2

(Plate 40)
feet in columns

hexagonal portico
it is
outer

Corinthian

columns four
centre

diameter, and
are

peculiarthat
ones

only

the

circular, the

88

ANDREA The

PALLADIO inter-columniation columns varies

an

being
1

square

on

plan.

from

to

if diameters.

The

support
The but

entablature of

and

richly sculptured pediment.

the

length

portico

is

equal to

height,excluding pediment

including steps.
six is to

Including the pediment the width is to the height as The seven. stylobateis in height a quarter of the
Plate
a

columns.

40

shows

the

festoons

suspended
critics. small the

between The
two

the

capitals,
bell

feature
on

condemned either side

by
crown

many

small

turrets

staircase.

Church this church

of

S.

Lucia
us a

at

Venice.
was

"

An

inscription on
of

informs
Temanza

that

it

the work of it was

Palladio, but
after his

according to
thinks
In

large part
older

finished

death, including probably the

was

facade, which

ever, Bertotti, how-

part of

an

building.
is divided inches
one

plan
The
one

it is

nearly

square 44
two

and

in the the

three, the

transverse

width

being
has the and

feet 6

and
over

length 77
other, the

feet. lower

interior Ionic Over

orders,

upper

Corinthian,
choir

quarter less in
of the
nuns.

height.
Church church

the entrance

aisle is the

of

Le
near

Zitelle

at

Venice.
on

"

This island

little of La

is situated

II Redentore Bertotti is of the

the

Giudecca, and
to
were

according to
Temanza upon it.

design
that

is attributed architects

Palladio, but

opinion

other

employed
In

plan

it differs from with render the the

the above-named

churches, having

square

interior
to

angles

cut

off,in order, according dome, which

is of

to

Temanza,
of the
a

circular

brick,
lantern

easier above

construction. dome. The

Light

is introduced has

by
of the

interior

Corinthian

pilasters

restingon
the

continuous while the

pedestal,a quarter
cornices have

height of
in
two

columns,

modillions

"

"

CHURCHES

89
for the
recess

faces,

feature

usually reserved
is
a

Composite

order. the

Opposite the entrance altar. principal

The been facade is
a

square

containing
and
so

very
was

weak the orders

at

composition
custom

may many

have other

added

later,as
It has
two

with

churches. above the

of Corinthian the

one pilasters,

other; coupled
door
a

angles

of the

facade

and

leaving a large central by

a

space, windows

occupied
on

in the

lower

portion
in the whole

central

with

either

side, and
The

upper facade

part by
is crowned

window. large semicircular by a singlepediment.

Facade

of

S.

Francesca
was

della

Vigna,
from the

Venice.

"

The

interior of this church in 1534. obtained

a

erected

designs of
Giovanni

Sansovino Grimani

After

his death

Monsignore

design for the facade from Palladio, and for that of it is related that Sansovino's rejected design was Sansovino's It would be interesting Palladio. to see design, in 1562), The but it is not given by Bertotti. facade (erected
bears
a

remarkable which

resemblance it may it be

to

that of but

S.

Giorgio Magto

giore,to

compared,

which

it is

inferior, as especially
much Another better

the repeats the defect of interrupting

stylobate,by cutting the

treatment

principal doorway through it, a being adopted

at

.11

Redentore.
too

fault is in
a

the

management
the

of the

orders, for
the

great
and S.

contrast

is obtained

by startingboth
same

principal
at

subsidiary order

from

base, the

treatment

Giorgio being preferable. Four Corinthian and crowned placed upon projecting pedestals,
and

half columns

by
the

an

lature entab-

pediment,
base the

form

the

central
starts

feature from

of the facade.
same

An
on

inferior order
a

of these

columns
ornaments

level,
main
to

continuous and

and

the

sides

of the

doorways

window

openings.
N

The

entablature

9o

ANDREA

PALLADIO

this of

secondary order
whose with

is

stopped where
it would

it meets otherwise has

a

the main
cross.

order The three with

columns,

shafts

central times

doorway
its

semicircular arched
as

head

height of
filled in

width,

the

portion being
S.

sculpturedstonework,
Design Petronio
at for

at

Giorgio.
the

the

Facade

of

Church

of

S.

Bologna
were

(Plates 41
erected from
our

and

42).
"

The

churches

already described
we

Palladio's master's

designs, but
church tecture archifor the

cannot

leave

the

subject of
the

without of .finishing but

to referring

designs he prepared
These
were

the above

facade.

not

carried he

out,
posed pro-

they
as

are a

as interesting a

showing
Gothic may
in

the

treatment

for frontispiece

church.
seen

Other
in

architects
at
.

"also furnished the

some

designs, as
the north aisle

be the

the

workshop

end

of

church, which

contains the

fortysketches
to

relatingto

this

facade, dating from

These
are

fifteenth
Romano

the

seventeenth of

century.

by
and
were

Giulio others.
sulted con-

(a pupil
describes

Raphael), Palladio, Vignola

architects thirty-five of the

Bertotti

how

in all

during
decided
120

the

progress

church, and
interior from
to

how 114

it

was

to

raise
In

the

height

of the

feet to be

feet.
a

the

workshop already referred

in wood. in emulation
can

is also to

seen

model
was

of the church

It
at
we

commenced Some its area,

in 1390, idea if of

of the Cathedral be

Florence. find
at

its size

imagined
have

when St.

that Rome.
out

completed,
a

would of the remained

rivalled

Peter

Only
and the

about facade

third has

carried Palladio

design has been uncompleted.

feet in

prepared five designs for it,three beings114

the fourth
120

height,and
single resting on

feet. of
two

In

two

of these is

Corinthian

order

dimensions

designs a employed,
The

of pedestals

different

height in

each

design.

i\

CHURCHES column is the in in each the The

91 lature entablatures entabthe

to

height of
and

the

same

case,

pedestalsbeing
smaller
We

varied
are see

position.

of the main columns.

a

order
can

carried
traces

through
of his

between

endeavour

produce

similar that

treatment

to that

of his Venetian della

churches,
but in this

especiallyto
case

of

S.

Francesca
an

Vigna,

he had of
a

to deal

with
two

interior

of five

ing divisions, consiston

central
a

nave,

aisles, beyond which,

Palladio for this has

each

side,
these

extended divisions No.

2

series
in
an

of his

chapels. designs

indicated The

all

facade.
front No.

design
are

has

attic of small

in pilasters,
In

of which
1

statues, crowned
starts
over

by

pediment.
main

design
and
an

the is

ment pediplaced
the In the

from

the

cornice

attic

this. The Palladio difficulty

a was

contending
chief

with

was

of application former Both the breadth of main these order

classic and

facade to a Gothic not height is the

suffer the from central

structure.

characteristic.

designs

having

the

stylobateof
Palladio's
to

pierced for

doorway.

due to design (Plate41) was in certain features alreadyexisting third

instructions the been of

preserve the

facade, of which
one.

doorway principal
In

appears the

to

have

consequence,

main of the

cornice this

the

lower
In

order

is

broken
our

by

the has he

pediment
divided
to

doorway.
into Doric
was

this orders

design
:

master
one

height
either it

three
or

the

lower
on

intended of the aisles

be

Ionic, as
extend

shown

either

side

centre, and
and

to

the whole

width
are

of nave, of the

chapels.

The

two

upper in

storeys

Corinthian order

order, considerably less

extends
over over

height. only,
storey

The

intermediate half the

the

nave

and The with

aisles

having
indicates The

pediments
nave

the

latter.

upper
a

only

and

is crowned with

pediment.

whole

facade

is covered

pedimented niches, giving

92
a

ANDREA rich but with The

PALLADIO less

appearance,

dignity than
that

either

of

the is

two

previous designs.
similar
was

fourth

design (Plate 42)

in this Gothic features

of

treatment,

and

it is evident preserve
a

design
in
3.

Palladio

obliged to Algarottiand

all the certain

are

the facade Both the his

"

which

influenced, to

extent,
of this

design No.
this

Conte

Temanza

opinion, and
as

states latter,in his life of Palladio, distinctly

opinion,and
with

refers to the the Gothic Gothic

or

fact that German exists of

in this fourth and in the

taste

design,
or

mixed

the

Roman

Greek
"

the style,"

only
He

lower

storey,
have

among
no

architectural with has

features

better says

which

connection architect of the

them."

also

that, "doubtless
tion ornamenta-

the

been

obliged to
and of the

include

the old
to

doorway

wings

the

old

facade,"
to

certainlyshown
upper

in this

design, which
3, but
on

is

similar, as
lower

the

storeys, to design No.

of pilasters the old

the

storey has
a

Corinthian

attenuated
lines

and proportion, of the Gothic

Gothic-

looking entablature, being kept.

lower The
more

building
to

The
are an

upper

parts of the three

to

doorways
two

the

storey

attempt
or

mingle
with

the

styles.
facade
are

columns

throughout pilasters
is usual Palladio.

this

attenuated

than
"

Bertotti knew

refers how

with
to

but
never

which the skill with praise to combine ingeniously the Gothic and be glad that others will doubtless

Palladio the such

to

Roman
a

style,"
was

jumble
some

put into execution.

the
not

There this

appear

be

doubts

about does

of authenticity doubt

design, but
in that in

Conte

Algarotti

it, and
which

recognizes
with of

Palladio's particular the in

handwriting,
Devonshire

accords

Burlingtonthe R.I.B.A.
notes

Collection also

Drawings
in similarity

(now
the

Library).1 He

finds

marginal

in

See

p. 106.

CHURCHES the Vicentine

93 the method of

dialect, and

in

drawing

the

statuary and
Convent demia
as an

sculpture.
La Carita
"

of

at

Venice

(now
second

the

Acca-

delle

Belle

Arti).
to

Palladio VI. of

publishes
his his The
an

this

design
A
a

illustration

Chapter
executed

book.

part of the design was

afterwards
from feet

during
shows

but lifetime,

fire

destroyed a large portion. by

feet Bertotti

plan published
outer

measurements

atrium

60
two

long by 45^

wide,
which

of

Composite
the

columns,
cloister

storeys in height,from
86 feet The columns
a are

is reached

court,

by

70

feet.
or

vestibule 40 feet in

atrium

has

eight

isolated

Composite
lit by

height. The

design shows

this atrium

central

quadrangular opening. On each side of the atrium and rooms appropriated to the sacristy chapter square
The cloister court with lower is surrounded the

house. arcades orders. the The

by
arched

three and

storeys of
Corinthian

ornamented The
one

Doric, Ionic
are

two

storeys
in and

between with

these,

upper Doric

being
has

walled
not
as are on

provided
the
to

windows. the frieze. of

our

order

the

usual

triglyph in good

Bertotti

mentions because

this there

showing
no

taste

master,
behind

beams arches.

express, Ionic

the

floor of the

being supported
has in columns
so

The less in

order

this court Doric. chief As

one-seventh of Palladio's It and is

height than
stucco,

many

buildings,brick
with

is the the

material

employed.

covered

bases, capitalsof columns

in stone. It is of

upper

parts of cornices

being
the

generally
this

believed in

that

Inigo Jones

utilized

design
(now
in The

Hall, Houghton in 1794). ruins, being dismantled of the north front of Houghton centre

building

Bedfordshire

Hall

is held

94

ANDREA

PALLADIO

to

have

been

similar feature four of

to

the

courtyard.
a

of

Palladio's about

building,
22

the

principal
feet,
remains but the with

being
Doric

recessed

portico,

feet

by
are

12

three-quarter
Ionic
treatment

columns;
a

above then

the

an

open

loggia,
of

feature

new

to

England,
also
at

favourite

Inigo
and

Jones,
elsewhere.

and

used

Queen's

House,

Greenwich,

Altar

in

the

Hospital

of

S.

Spirito, Paris,
above his

Rome.
"

Letarouilly,
that Palladio
in

"

Rome

Moderne,"
an

quarto,
in this the

1840,

mentions while

erected

altar that

hospital,

measuring
in that

Rome,

and

was

only

production

city.

CHAPTER

VIII

LITERARY

WORKS

AND

DRAWINGS

PALLADIO
classical vius's
master

had

apparently
and
was

early
much

in

his

career

love

for

literature,
work
on

influenced He and followed

by
his

Vitru-

great
in of

architecture. his of his with in ideas

own

great
the in

writing
the He

down

principles
and for of

for those

benefit

architects commenced in
on

day

posterity.
first his which has
"

the

"Antiquities
His

Rome,"
was

published
Treatise countless been

Venice

1554.

principal
in four

work

Architecture,"
editions into
are as

published
been

books,
and which The in is

of

have every far

as

published,

translated editions The issued

a

European possible
for

language.
mentioned readers

various

the
doubtedly un-

bibliography.
that Giacomo

best in

edition 1742 and

English
edition,
to

(third
architect

corrected)
most
serene

by

Leoni,
the

Venetian,
Elector into it

his

highness,
It interest

late

Palatine. and
notes

is translated because

English,
the

is further and taken

of

very

great
of the

contains

remarks from his

great

English
in

architect,
Worcester in

Inigo Jones, College

two

original
This

manuscript
edition
was

Library,

Oxford.

published
Jones's
copy
of

volumes. Palladio's Dr. "Architecture" member he

of
came

Inigo
into the for

of
one

possession
the

Clarke,
and of
on

ment Parliait to

University
the
notes

of

Oxford,

bequeathed
institution

Worcester

College,
for the

authorities made

which

gave

permission

the

plates by

Inigo

Jones

"

96
to

ANDREA be

PALLADIO Leoni commissioned

are

copied.
notes

Giacomo
some

was

to

copy side

these

in 1741, the
rest

of which make

placed in
are sheets),

the

margin
at

and

(which
to

several

added

the end

of each

book.
use

It will be of little divisions In

me,

do

more

than divided

mention his

the main

into which Preface my

to

Palladio
"

has

great work.

the from

he very

says,

My
to

natural the
:

inclination of

leading
I

Infancy,
to

study
did

architecture,
I
ever was

resolv'd

apply myself
the after ancient

it

and

because far

of

opinion
have
come

that

Romans
as

exceed

all that
so

them,

in

many
to

other

things
Vitruvius ancient

ticularly parboth

in
as

Building, I proposed
and
extant

myself only

my

master

guide, he being
on

the

author

that

remains This

this

subject."
it indicates influence followed
to

statement

is

as interesting

that

from

the first he whose Palladio

fell very and

much

under

the he

of

Vitruvius,

rules then

instructions how he

very

largely.
parts of
and modern

relates up

journeyed
of Roman
same

different

Italy, measuring studying and

architectural Alberti
"

the remains in the

was

architecture
as

comparing
student.
"

manner

the Leo

He

also indebted writers." He of

a

to

Baptista proceeds:
who
siders con-

and

other
an was

excellent

then
man

thought
that

it

undertaking worthy
not

he of

born

for

himself

only, but
the

likewise

for the

good

others, to publish to the world

which edifices, with

Designs
of

(orDraughts)
Time
to

of those of my seem'd

equal

expense and

and

Danger
what

Person,
to
me

I have

collected
to

briefly

set down

most

worthy

be consider'd

in

them," etc., etc.

After
to referring

those

artists and

honourably

mentioned

in

the books he and mentions

of that "rare that Venice

Painter

Architect," George Vasari,

an

afforded the Romans

example
"since

of the that

grandeur
celebrated

magnificence of

43-

TIIE

FIVE

ORDERS

OK
GENERAL

ARCHITECTURE

AFTER

FALLADIO.

PROPORTIONS.

LITERARY and
true

WORKS

AND

DRAWINGS

97

carver

architect,Giacomo
"

Sansovino,

first introduced

the

manner

(the renaissance
to

of classic native
town

forms).
of

ference Re-

is then where
now
"

made

his
to

own

Vicenza,
I

I had

first occasion
for

put that

in In

practicewhich
connection

publish
he

the
to

common

good."
of the
reasons

with his

Vicenza Preface his book Book such back

on as

refers
a

his

and principal clients,

finishes

by

short

statement

why

he divided

into the several

I. contains

parts.
on

articles

buildingmaterials
and metals

generally,
etc., with

timber, stones, sand, limes

to Vitruvius ;

references the five

chapters on
their

foundations, walls,

orders and

of

architecture

(Tuscan, Doric, Ionic, proportions,pilasters,

rooms,

Corinthian

Composite),and
their

the height of floors, pedestals, ceilings, windows roofs. and

are

arches, doors,
and
text

(and

ornamentation),chimneys, staircases

Side-notes

by Inigo Jones help

information end when
to at

to

elucidate

the

to

give additional placed

the he made
XIII.

thereto,and

Jones's notes
the

also

of

observations

chapter and refer to travelling through Italy.

the the diminution should be of the shafts
to

Chapter
columns and

refers

of

of the entasis

which

given

them.

The
ladio.
"

Proportions The

of

the

Orders

according

to

Pal-

major part
of
of many

of Book the

I. refers and
are

to

the

proportions

and and

ornamentations illustrations Plate 43

orders

their

entablatures,

of these

given here.
of the
to

shows

the

proportions
Palladio. As

five orders

of

architecture should the be

according to
given
to

the entasis
"

which divide the

I

the

shafts, Palladio
into three

says

shaft of the column

equal parts, drawing

lower third

at the extremityof which part perpendicular,

lay a
more

thin
; and

bending Rule as long as the column, or bending that part of the Rule till the end
o

little

touches

98
at

ANDREA of the diminution

PALLADIO under the column diminishes it is The the

the

point

Astragal,I
becomes

follow

the bent swelled

of the
in the

Rule, and middle, and

This

so

somewhat the top very

is

towards

handsomely."
followed tions
are

method,
masons.

interesting to know,
various
fact
an

nowadays by
then referred columns central then

intercolumniain the front

so

to, also the

should

that
even

of
as

buildings the
to

be of

number,

allow Our

of

opening.
refers to the taken
at
or

author

fact

that

the

module

is the

diameter

of the column into

the

base, and

that he divides

this module in which its base. the

sixtyparts
is

minutes diameter of

except in the Doric,

of the orders in this column shows
our

module

half

the

at

The of

comparative plate
the
Tuscan

the

the

proportions
follows The ladio's
In

order, and

author

Vitruvius Doric

(Plate43).
Order.
of
"

We

give

two

plates showing
and

Pal-

proportions
the
case

this order

(Plates44

45). intervening
of
not

of

their have the

employment
an

without

arches, they should

than
3 diameters

intercolumniation
a

less

of

column,

spacing which

is called

diastyle by
The

Vitruvius. in this and

as

module orders

in

the the

Ionic, Corinthian
half

and is

Composite
divided Plate wall into 45

is taken
or

diameter, which

thirtyparts
shows
are

minutes.
as a

the order semicircular

half

column

attached 44 shows

to

a a

in which

arches, and

Plate

detail of the The book. Ionic Plate

capitaland
Order.
"

entablature.
We

from give four plates the column and is 9

our

author's in its

46 shows
the

entablature in

general proportions ;
and the entablature The column.

column

diameters

height,
of the called

is one-fifth

part of the
is

height

intercolumniation

2\

diameters

eustyleby

Vitruvius.

44PROPORTIONS

THE

DORIC

ORDER.

OF

CAPITAL

AND

ENTABLATURE.

45ARCADE WITH

THE

DORIC

ORDER.

HALF

COLUMNS

ON

PEDESTALS.

LITERARY Plate
to

WORKS attached
a

AND Ionic half

DRAWINGS columns

99

47

shows
are

backing
in of

on

piers,which
Plate

third
in

part of the width

the Ionic

of the

opening. plan
the

48 shows

detail

capitalboth
to

and

elevation, and

the

proportion

it bears

the

rest

column. The square whereon the method formed the of in

strikingthe
eye of the

volute
same,

is indicated

by

the

the

showing
is to stand

the
to

points
make in

fixed foot of the The

treatment

compass

volute.

of that

angle capitalsis
is the book

referred

Palladio's

fourth

book,

dealing
of the

with

temples.
Plate column
The

49 and

gives

in

detail

the

proportions
50 shows

Ionic

its entablature. Order.

"

Corinthian

Plate

that

the

height,
the lature entabThe
as

according to Palladio, should

base and

be 9^ diameters has
24

including
the column.

capital;

the

column

flutes, and
of
two

is one-fifth

part of the

height
of

the

plate
the

shows

an

intercolumniation

diameters,

at

Rotonda

at

Rome,

method

of

spacing which
of the Corinthian In

is called

systyle.
Plate when have used 51
in

shows

the

treatment
an

order

conjunction with
of the width
in

arcade.

this the

piers

two-fifths

of the

archway, which

itself is

2\ times
Plate used with

its width 52 the shows

height.
in detail the

pedestal which
is upon
a

should

be

Corinthian shows
an

column, which
the

quarter of its
the arch

height,and mouldings
Plate entablature. The shows 53

it also
rest

impost

which

in

arcade. detail the Corinthian

gives
is

in

capital and
the

its

capital
the in each

\\ diameter
of the the
two

in

height, and
of

plan

arrangement

tiers of acanthus

leaves,
volutes

eight

tier,and

method

forming

the

ioo

ANDREA the curved abacus The

PALLADIO and (see plan), entablature is the leaves

to

supporting
of which one-fifth The

out

they spring.

designed
the

be

part of the height of the column.

arrangement
the

adopted
to

in

setting out

cluding incapital, in the

projection given
plate,and
sunk
on

the

leaves, is indicated
and
same,

right side
of consoles

of this

the

arrangement
the

proportion
are

and

between coffering

very

marked clearly Plate 54

the

plan looking up. Composite

as

shows

the

order

(also,as

Palladio

remarks, named
Romans. Our is author

Roman)
remarks

being

an

invention

of the ancient

that it is called and Corinthian

to

Composite capitals ;
however

because it is
more

it

composed
than

of the Ionic the

slender

Corinthian,

which

it has

general resemblance.
The and the column is here

figured as
is

10

diameters
as

in

height,
or

intercolumniation Vitruvius shows this

shown

il

diameter,

as picnostyle,

calls it. column width width. the column.

a

Plate

55 about

attached of the The

to

arcades

the
a as

piers are
one-third Plate of this

half the their

openings,which pedestal is
the

have

height of 2.\ times

the

shown

height of
shows

56

in detail which the

capitaland

entablature it and the

order, from

difference
seen.

between

Corinthian The

capitalcan
upper the lower

be at

once

part of the part has

capital is
the two the
rows

of

the

angular
column,

Ionic

type, and
The varies the
a

of acanthus of the the

leaves and of

entablature from the and

is one-fifth Corinthian in the

height
of

in principally

consoles in

cornice

omission

dentils, and

having
cations fortifi-

pulvinated frieze.
In

his first book both

Palladio

promises

treatise
was

on

of cities and

harbours, but

this

not

destined

iM,caiv.v.v

j,

gggZ

S^aSZSSZ

t-.".f/tA"aMJ.w^."MAv/M^M^"WJAMAMi"AW;,lMaM^^v,^

llMtKg'Tjj;

-lf";. 2...K/.J5..
.

-Xtj

Jli.-LS-

46.
GENERAL

THE

IONIC

ORDER.

PROPORTIONS

OF

COLONNADE.

ggBBSSESSBglSEi

.'i-"n-Mlfc!i

j lXHTTKi.fjij.;.ing;j

"^.j'j^-j--,iijij.^.,_

"iiJ^rar^,J.ul/,.lu^c,,u^i

^^ggg^gjg

47.
ARCADE
WITH

THE

IONIC

ORDER.

HALF

COLUMNS

ON

PEDESTALS.

LITERARY be

WORKS death

AND intervened. There

is
no

DRAWINGS
It

101

to

published,for
and

may of

have

been

written

lost, however.

doubt the

Palladio's his

great

for writing qualifications

was

upon
In

subject, for
he much

knowledge
have

unquestionable.
with San finest
at

military art
invented

would of

competed being

Michele, who

great benefit, the

erected Book and

example
executed also

of his

ingenious

tions fortifica-

Verona the

in 1527.

II. contains

designs
elsewhere.

of several

town

country houses, and

Verona,
Vicenza

designs
and

for certain This

noblemen book
is

in Venice, divided the

into

seventeen to

chapters,dealing
observed in the construction the

{inter

alia) with
houses,
of

proportion
different

be

private buildings, the

of town houses several

planning
the

of different forms

rooms,

of

atrium,

private
and celebrated

the

Greeks, the situation

for such

of country

houses,
the

designs

buildings, including
notes
are

"Rotonda"

at Vicenza.

The

of

Inigo Jones
and have
to

on

the The

margin

and

at

the end

of this book

of great interest. referred made the

to

different
manner
on

parts of the

plan

are

lettered
must

in this
notes

by Inigo
spot
; thus

Jones, who

these

the

adding great
Book III.

value

book.
to

is devoted

the

discussion practical the Greeks and and

of ways,

streets, roads,
ancient

the piazziof bridges, and their

Romans,
ings draw-

basilicas

typicalforms,
and

includes

of Palladio's

great work, the Basilica

of the baths

at Vicenza.

Notes,
Greeks

plans and
are

restorations

xysti

of the

also Book

given.
IV.
It

is in

size

equal
of

to

the

first three the

books

put
of in of and

together.
classic

consists

descriptionsof

temples

and outside some Italy, Italy. There are all thirty-one of the various forms treat chapters which Measured temples, and their compartments. drawings

Rome,

102

ANDREA of such

PALLADIO

restorations

are

given

buildings
and

as

the

Temples

of

Peace, Mars
and

the

Avenger,

Antoninus

Faustina, Venus
Vesta Virilis,

Rome,
and
are

Minerva, Medica, Jupiter,Fortuna

the Pantheon, Tivoli),
at

(Rome
which

Castor

and

Pollux, all of

Rome.

Outside
are (I stria),

Rome dealt

the two with.

temples

at

Nismes,

those

at

Pola

Inigo Jones's remarks

these

are

given
in

in side-notes these the the he time book

to

many

of the

important
of the interested

temples,
various should

and

mentions of for do

condition The it is

buildings at
refer
at
our

his visit.

reader

to

these, as
than
are

in impossible,

the space

disposal,to
Leoni's

more

mention
one

that

the and

notes

exist. folio the

as

In

edition of them

there

hundred

four

plates,many
of

of extreme the

interest, as
sixteenth Palladio In

showing
or

condition

the

buildings in
restoration
to

century,
what he

indicatingin
their

their

by
be. and

considered the

original appearance
are

Leoni's

edition

plates

carefullydrawn
the

figured.
Book IV.
to

has

an

Appendix
"A In

on

"Antiquities
on

of of

Rome,"
the
to

which

is added

Discourse this

the is
a

Fires

Ancients," by Palladio.
the foundation of the

appendix
the

reference

her principal streets, bridges, city,

the aqueducts leading into Rome, hills,

theatres,amphitheatres,

obelisks, triumphal arches, porticoes, market-places,

palaces,courts
In

of
a

etc. justice, granaries,

addition about the

good

deal

of

information interesting
customs

is

given
the other The the

everyday

life and

of the

Romans,
and

population,weddings, education, divorce,

rites. discourse kinds
on

funeral

the

fires of and air.

the

ancients and

refers the
use

to

different

of hearths of heated

stoves,

of

pipes

for introduction

48.
DETAILS OF

THE

IONIC

ORDER.

CAPITAL,

SHOWING

SETTING-OUT

OF

VOLUTE,

ETC.

l""5"SS2S"5@e"Si^

^^^^^^^^^^^^^^^g^^^^^^^^^^

49.
DETAIL

THE

IONIC
AND

ORDER.

OF

ENTABLATURE

UPPER

PART

OF

COLUMN.

LITERARY

WORKS

AND

DRAWINGS

103

The
"

various
are,
as

editions far
as

of

Palladio's

"Treatise below.
on

on

tecture Archi-

possible, given
that
certain

Gualdo

informs
to

us

treatises of Savoia
It
was

architecture remained known that

finished un-

promised

Emanuele
to
our

Filiberto master's of death.

owing
had,
the
to

he

in ruins

the

company

Monsignore
outside these

Daniele

Barbaro, and,

visited anxious who had

of the

Berga
of

Theatre,
any of of

Vicenza,

discover
a

records

visits, Barichella,
wrote to

been

devout who

disciple kindly

Miglioranza,
himself
to

Professor the

Donaldson,
Duke Palladio of

charged permission

with the

procuring drawings
which

Devonshire's then
at

peruse
at

by
was

in

the
time

Duke's

villa the Prince

Chiswick,
of Wales

occupied
Edward her

that
In

by

(now Egerton

King
gave
one.

VII.).
assistance,

these the

inquiries
quest
the

Lady proved

Mary
a

and

successful of the

Professor

Donaldson
not

found

drawing
and

theatre,
made
a

though
beautiful believed contained

signed
sketch
of

by
it. the

Palladio,
Both

forthwith and this the

to

Barichella of of life

Donaldson which

entirely
almost devoted

in

authenticity
the of his form his

drawing,
edifice.

accurately
many and It years after is

oranza Migliof this

the

study

particular
the

theatre,

death that for

Barichella there the

was

continued another of

researches.

believed
was

building attached,
august
personages
to

which
on

used way here

entertainment Theodoric the Great

their

through
in

Vicenza. Charles in 1128.

is believed

have in

stayed
1039, and

488,

in

802,

Henry

II.

Lothario

io4

ANDREA

PALLADIO

THE

VARIOUS

EDITIONS

AND

TRANSLATIONS

OF

PALLADIO'S

WORKS

Le

Antichita

di Roma.

8vo.

Venice, 1554,

1555,

1565;

Rome,
Do. Do. Do.
Do.

1576.
edition, with

In

Latin, 1618.
notes

Another In
In

by Fairfax,
8vo.

1709.
2.

French, by P. de Launay.

Arras, 161
Rome,

Spanish, by
for the

H.

Francini. of

8vo.

1589.

The Barbara
I due I

drawings
in

edition

Vitruvius, published by

1556. (now
Cesare very
con

primi dell' Antichita

di C.
G.

rare). Venice, 1570.

le

Commentari A. Palladio.

figure in
figure
Rome,
in

rame

fatte da
I

Venezia,
di C. G.

Franceschi, 1575.
con

Commentari

Cesare

le

rame

degliallogiamentide'
Fabbriche
e

fatti

d'arme,

etc.

4to.

1618.

Antiche luce da

disegnateda
Riccardo Conte

Andrea di

Palladio

Vicentino Folio.

date

in

Burlington.

London,

1730.

Fabbriche

Antiche, etc., published by Lord

1730.

Burlington.

London,
Do.

Published upon

by Cameron,
on

1772.
are

(Works
Quattro
The

Polybius and
Other

Theatres

not

published.)
1570.

libri dell' Architettura. editions in

Folio.

Venice,

(With woodcuts.)
Architecture

1581, 1601, 1616, 1642.

Folio.

of Andrea

Palladio, by Leoni.

London,

17 15, 1721,

1742

edition). (Containing notes (third

French

by Inigo Jones). The above printed in

an

by

Du

Bois

in

1726, with
C.

Appendix
The Five

on

the

Antiquities of

Rome. revised

Orders

of Architecture,

by

bell. Camp-

London,

1729.

tef

IE

"

t^

ffl

te

ffl

laa

'a

50.
GENERAL

THE

CORINTHIAN
OF A

ORDER.
COLONNADE.

PROPORTIONS

51.
ARCADE WITH

THE

CORINTHIAN

ORDER.

HALF

COLUMNS

ON

PEDESTALS.

LITERARY Architecture The de

WORKS A.

AND

DRAWINGS
2

105 vols, folio.

Palladio, by G. Leoni.
of Andrea

Hague, 1726.
The Architecture

Palladio, translated

by

I. Ware. Also Folio. The Richards.

1

London,
editions

1738 (now rare).

by
1735, Book

B.

Cole, with

drawings by Hoppus.
translated

London,
First

1736.
of

Architecture,

by

G.

Early editions,and 4to (ninthedition). London,

1733.
des

72

and

Traite

Cinq

Ordres

d'Architecture, par
Folio.

Le

Muet.

4to.

Paris, 1626, 1647.

dei Romani. baths of Scamozzi.

Terme 1797.

Vicenza, 1785,
in the above

(The

Agrippa by

are

wanting

collection.)
Baths of the

Romans,

C. Cameron.

Folio.

London,

1775.
L'Architectura. French and Italian.

Venice, 174

1.

printed Re-

Pasquale, 1768, 1770; Siena, 1790; 1642 (second edition) ; by Dubois, 1726 (Hague).

by

G.

B.

Paris,

Les

quatres livres d'Architecture,par de Chamray.

Folio.

French Paris, 1650 (first Delle Libro Praves. Los Ortiz

edition).
d'Arch.

Cinque
de la Circa

Ordini

1746.
Andrea

Arquitectura de
1625 (?Madrid).
libros de

Palladio, by F. de
Civil

quatros

Arquitectura.
Desseins de

traduc.

par

y Sanz.

96 pi. Madrid, 1797.

et

Les

Batimens

les

Andre' Scamozzi.

Palladio,
4 vols,

recueillis et illustrds par with

Octave

Bertotti

plates. Vicence, 1796. (This

Le edition has been utilized for measurements and in this

information

biography).
i

Fabbriche

ed
a

Disegni,par
edition
p

O. in

B. Scamozzi.

1776,

1783, 1786, 1787;

smaller

1796-1797.

106

ANDREA

PALLADIO

Architettura 171
1.

di Andrea

Palladio,by
folio. Palladio

N.

N.

4to. Venice,

And

in

eight volumes,
di Andrea and
N.
e

Venice, 1740-1748.
Folio.

Architettura Venice.
Italian

Vicentino.
"

1740,
dell'

French

text,

Con

le osservazioni

Architetto,"N.
Fabbriche

Disegni di Andrea by Foppiani (Genoa), 1843- 1844.

CEuvres

Palladio,

le

Terme,

completes

de

Andrea

Palladio,
and

et

la traite" des

Thermes, by Chapuy, Coricard, 1825, 1842, 1852.

N. Folio. The

Lenver

Beugnot.

Paris,

N., Le

Studio

dell' Archit.

di

Palladio.

93

plates.
with

Vicenza, 1800.
Edifices
of

of

Palladio, with

measurements,
Palazzo and

taken

Atkinson,
screens

the
"

Olympic Theatre,
Sala della Palladio. F.

Chiericati, the
the Villa

to

the

Ragione,"
Arundale.

Capra,

and

Memoir

of

Folio.

London,

1832.

PALLADIO'S
THE BURLINGTON-DEVONSHIRE
IN THE R.I.B.A.

DRAWINGS
COLLECTION
OF

DRAWINGS

LIBRARY.1 of

This
two

important
and

collection

drawings,
to be

of which

about

hundred

are fifty

believed

by

Palladio

himself,
Earl of

The

first Earl
was

of
a

Burlington
of in 1664

was

one

Richard

Boyle,
of

second

Cork, who

made

peer

England
was

in

1644,

as

Baron

Clifford

of Lanes-

borough,
his

co.

York, and
was

who

created

Earl
in and

Burlington. Dying
was

in 1697 he

succeeded Richard
was

by
in

his

grandson, who,
Earl and of Cork died
in

1703, third

succeeded

by
of

only

son,

Boyle,
born

fourth

(and

last)Earl

Burlington, who daughter

and thus

1695

1753.

The Duke

only surviving
of Devonshire
to ;

of this,the celebrated the villa at

The

Earl, married
its contents
of this

the fourth and

Chiswick,
third
son

heirlooms, passed
he

the

Cavendish
was

family.
with

marriage, George Augustus Henry,

of

invested
his

the revived

title of Earl

Burlington,and

was

succeeded seventh

by

grandson

William

(second

Earl

of

Burlington

and of the revival)

ywwwwM^ib^^

52.
DETAILS
OF

THE

CORINTHIAN

ORDER.

BASE

OF

COLUMN

AND

PEDESTAL

AND

IMPOST

OK

ARCADE.

53
DETAIL OF

THE

CORINTHIAN

ORDER.

ENTABLATURE

AND

UPPER

PART

OF

COLUMN.

LITERARY is in the The

WORKS of the

AND

DRAWINGS Institute of

107
British

now

Library

Royal Royal
Ambrose
was

Architects.
was

first notice

in recent

years

of this collection held and

on on

at

general meeting
The

of the

Institute

the fessor Prothe

17th November,
Donaldson. Collection
in

1845, by Mr.
paper

Poynter
"A

called

Note

of Architectural the

Drawings
Duke

by

Andrea
at

Palladio,
his villa at

the

possession of
near

of Devonshire

Chiswick,
Messrs.
as

London." and Donaldson books described

of

Poynter
in

the

drawings
in
:

contained
or

portfoliosand
leather, and

folio

size,bound
as

russia Those

morocco

they proceeded
all

follows

in

the

portfolios are
and many
to

mounted,

apparently on
on as

foreign boards,
both
to

of the the

sheets, having sketches

at
One

sides,are

attached

boards

end

only, so

leave the

the back lines in

free for

inspection. Many
some are

of the

have drawn

bistre,and
with from
a

shadowed

drawings with finely

of
two

lines ; others

wash

tint.

They
them,

are or or

classes,either sketches

monuments original

designs,

having
hand,

dimensions

and

memoranda of which
are

upon

drawings
another of the

fairlymade
as or

out, many
several
are

probably by
other memoranda the

purely elementary drawings

temples, sepulchres and
for

orders,
most

plans

of

edifices,
are

likely prepared
in
a

publication.
character

The of

written

cramped

Italian and

period,with
There is
;

frequentabbreviations
not
some a

peculiar orthography.
on

signature of
have have the
no name

Palladio of the of

any edifice

one

of which

the

drawings
meant to

to

they relate,
are

others

indication

the

object they
two to

illustrate. of these

As

already stated, about

are

hundred Palladio

and

fifty

drawings
Devonshire, who
as

believed

be

by

himself,
his
son,

Duke

of

died

in

892, and
A.

was

succeeded
sat

by

the

present Duke, who,

as

Lord

Hartington, formerly

in the

House

of Commons

Member

for Rossendale.

(R. LB.

Transactions, 1892.)

108 and and if this is the valuable The which

ANDREA it will

PALLADIO be understood how

case

important
seven

is the

collection.
are

drawings
are

in

seventeen

in portfolios,

of

figured the
With the of

Baths

of

Constantine,

Vespasian, Agrippa
VII. the of

Nero, Titus, Diocletian, Antoninus

in Rome). (all
was a

and (Caracalla),

Baths

of

Agrippa

in Portfolio

view bird's-eye the

Rome,
of the

dated

1562, showing
Church

city
St.

before Peter. In the the

a

completion

Renaissance

1892 when
to

arrangements Chatsworth,

were

being
at

made
were

to

remove

collection Duke

these

drawings
the them
same

lent

by

of Devonshire careful examination and the

for exhibition
was

Institute,and

more

made
at

of the

by
in

Messrs.
paring com-

Wyatt

Papworth
them with

J.

D.

Crace,

time

taken description original

1845.
and

Titles

of

the seventeen the

:

volumes

of
the

Palladian

drawings

designs in
Architects
1. 2.

Library of

Royal

Institute

of British

Therme Therme

d d

Constantino

in Roma. in Roma.

Vespasiano

3. Therme 4. Therme

di Nerone di Tito

in Roma. in Roma. in Roma. in Roma. in Roma.

5. Therme
6. Therme 7. Therme 8. 9.
10. 11.

di Dioclesiano di Antonino di

Agrippa

Fabrichi Edificii Do. Do. Do.

Antichi. Antichi.

12.

13.

Disegni
The

di

Andrea

Palladio.

Delia
etc.

Carita, Teatro

Olimpico.

Orders.

Pedestals,

54GENERAL

THE

COMPOSITE
OF
A

ORDER.

PROPORTIONS

COLONNADE.

55.
VKCADE WITH

THE

COMPOSITE
HALF

ORDER.
ON PEDESTALS.

COLUMNS

LITERARY

WORKS di Andrea Antichi di

AND Palladio. Andrea

DRAWINGS

109
etc.

14.

Disegni
Edificii
etc.

Churches,
Palladio.

15.

Temple
houses. and Town

of

Peace,
16. 17.

Disegni Disegni

di Andrea di Andrea

Palladio. Palladio.

Country

Country

houses, including the Valmarana

and Thiene The
more

Palace, Chiericati

Palace,

Palace.

important
those

of the measured of the

drawings
and Pola

of ancient

buildings,besides
are

great Therme
and

tioned, already men-

plans, sections, elevations,

Verona
;

details

of

the
at at

following : amphitheatres at
Rome
;
some

; Colosseum

ancient

theatres

the

Temple
and other
at

of

Fortune

Praeneste

; several

temples in
tomb Tivoli arches
;

Rome

parts of Italy;
Ravenna
;

the Villa

Pantheon Adriana

; the
near

of
a

Theodoric

the

Septizonium
Verona and

; the

Baptisteryof
Constantine
;

Constantine and Gallienus

at

; the ;

of

Septimius Severus,
at

gateways
and be

elsewhere
are

and

doorways

Spoleto
to

Spalato. by
Palladio

There of

also for

many houses

drawings
and
as

believed

designs
Thiene the
same

palaces of
for instance
scene

different the the

kinds, many
Chiericati

of these and
at

being executed,
at

Palazzi Teatro

Vicenza,
the other

the

of

Olimpico
della

town,

courtyard of buildings.
It would tonda

the

Convento

Carita

at

Venice, and

have

been had

interestingif drawings
been all

of

the

Roso

(VillaCapra)
after of this whole of

preserved,as
over

it

was no

copied

in extensively exists The

years

Europe,

but

drawing
ing interestof the

building.
collection
our

forms

most

valuable

and

record architectural

architect's

works

and

methods,

and

draughtsmanship
to the

of the

period.
must

In addition

Burlington-Devonshire Collection

no

ANDREA

PALLADIO

be

mentioned of His and Albanesi

very

interesting
edifices which

set

of in

his the

designs
Museum of of dealers

and
at

drawings
Vicenza. his

ancient

are

drawings
some were

attracted in Vasari. Pinali and and of Tito of his the

the

attention

at

death,

possession
The Lord

Contarini,
was

Scamozzi,

and

largest

collection

bought bequeathed
Vicenza

by

Giuseppe
his
to

Burlington.
among that and in of Tivoli. London.

Pinali those
at

Vicenza Arch of

Verona,
and Marte collection

being
the

the

Septimius
In

Severus,
Lord

temples

Trevi,

1732

Burlington

published

^^mwtmwmmmm?,

56.
DETAIL

THE

COMPOSITE

ORDER.

OF

ENTABLATURE

AND

UPPER

PART

OF

COLUMN.

CHAPTER

IX

ANDREA

PALLADIO'S

FAMILY

AND

DECLINING

DAYS

WE
so

have neither

no

information do
we

regarding
any mention called the

Palladio's made
"

marriage,
the wife
a

find She is

of

of

famous used is built

man.

merely
in

Moglie,"
families. appears Delia and if
we

word Her

much death
was

in also

these shrouded

days

even

noblest It

in

uncertainty.
son,

tomb his but

by
two

Silla,
years may his
a

Palladio's before have his been

and

Fede,
can

son-in-law,
surmise then that

own

death,
his

this for had

son,

for

wife,

not

for

her,

probably
Palladio

only daughter,
of four

Zenobia.
sons

family

and
a

one

daughter.
like he his died

The

eldest
we

Marc him

Antonio,

became Venice his

in

sculptor,
1588,
and about the
an

father;
in We 1600. read

find

living
who

at

Leonidas,
of his in

assisted the

father, died
of
was

1574.
at

directing

building
youngest,
the
at

dome

Montagnana
and upon and assisted which died

1566.1

Silla, the

architect,

by
his

Scamozzi,
father
was

completed engaged

Teatro time Giovanni of

Olimpico,
his

the

death,

about Delia in the the

1627.
Fede,

Zenobia
a

married

Battista,
appears

afterwards inscribed

goldsmith,
at

whose Vicenza. in

name

guild
third it

of
son,

goldsmiths
studied of

Orazio,
He
a was

law

Padova

in

1564.
and

capable,
to

seems,

writing
in

cultivated shows He
Palladio.

poetry, great
about

sonnet

Giovanna and
1

Aragona
of

1568

nobility
1574.

of

thought

elegance
"

style.
A.

died

Memorie

Intorno."

ii2

ANDREA have

PALLADIO been the of devoted of his

Palladio, who
gave His copper It
at

appears of upon his the

to

most

father,
sons.

up

much

time works

to

instruction in

treatise

Caesar

1575

contained

engravings executed by them. is extremely pathetic to think

loss
a was

of the His of
one

great man's
two
sons

grief
died the and

the

of

his

beloved than
two

children. months

within father

little

more

another, and
in his
In
non

inconsolable, and
dormant Palladio al

all interest for

some

books

profession remained
this trial di
to

time.
"

writing of
ebbero

Cesari

remarks,
fine

Ma

grazia
humana

condurre

desiderato fra
i loro

cosi

lodat la mio
e

pensiero
dell'

perche interponendosi
contentezza
e

disegni
due mesi

morte,

gloria incidiosa, con spazio di

mi Palladio "inhabitant his lascib."
was

gravissimo
mezzo

acerbissimo ambedue Before called

"of

dolore, nello

d'essi

privo
the

sconsolato

year

1564
and

in

legal documents
In
"

Vicenza" the
a

of Vicenza." he appears

those civis

to relating

marriage of
distinction None the of

daughter
of

as

Vicentine,"
of the
can

worthy
the

mentioning
conferred works with

in the upon and

days
ladio Palof

republic.
exceed This

honours

publication of his
was

those

his school. and drew

labour Ottavio his

undertaken

much

courage

diligenceby
and restored

Bertotti

Scamozzi, who
This book

measured,
most

buildings.
It is

contains

interestingengravings and learning and scholarship.

four both

commentaries,
a

showing
have

much

colossal

work, embracing

large volumes,
in Italian The and
to

of which French.1

many

editions

appeared

house,
and

be

seen

in the

street

of S. many

Lucia, Vicenza, such, and

till his it is

was

small

unpretentious,one
that
1

of from

held

by

some

he
See

lived
list, page

here
105.
e

1560

death.2

Andrea

Palladio

la

sua

Scuola.

FAMILY It the

AND

DECLINING

DAYS

113 in originally

was

and built,it is believed, by Cogolla, this for

an

was

possession of

family.
a

Though
continued
to

infirm take when

one

long time,
part in
end

Palladio the

nevertheless of him his

at

active

building
it found
Teatro

edifices,and
work upon

finallythe
his death finest

came,

of his

efforts,the
his
son

Olimpico,
Vincenzio

finished Scamozzi.

after

by

Silla

and

Palladio's native for his

death

was

great grief and

him
"

loss his

to

his

loyal
but and

which city, many other

revered virtues

not

only for
was

genius

for he

both The

amiable

benevolent, and beloved

of the it in S.

by

his workmen.

Academicians

Olimpico
the vault

attended there

his coffin to S. which

at
.

Corona, and
the

placed
altar of marble

first faced
was

Giovanni, but when

with the olive

the church and

repaired,the
two

slab moved

branch
of the

the

hands
one

joining was

into the wall

choir,above

of the staircases

leading into
By
him
a

the confessional. will of Count Velo and erected with

in

the

the

funds

left

by
of

sumptuous

chapel was
carried in
on

commemoration his remains from

were

Palladio, in the Cemetero

disinterred and
at

Comunale,
solemn the

and

procession 19th August,

death.
a

the

Sepulchre
Canova

S. the

Corona

1845, the

anniversaryof
cemetery, with

great architect's
Palladio with

honoured the

bust, placed

at

the

: followinginscription

Ad

Andrea
di

Palladio

Vicenza.

Antonio

Canova.

Professor

Todeschini he considers

denies

that

the

sepulchrecould
to

be

Palladio's,as
of the

the olive branch but

o

be

the

badge

Olivieri

family,

Magrini

and

Gonzati

bring

ii4 evidence
to

ANDREA that

PALLADIO

prove the

Silla, Palladio's
to

son,

on

May
tomb

3rd,
as

1578,
a

received

permission
his

construct

this Delia

for burial-place

family

and

that

of

Fede, his
were

brother-in-law, husband
found of

of Zenobia.

Documents
was a

also

later,showing that the olive branch

the

insignia

Palladio's seals his the

family, one
testimony
ceremony Palladio

in with of
were

particularis
this

will, in which

Silla

symbol.
took in
an

When the after

on

removal

place in 1845,
urn

remains
a

of

placed
formed

modelled

design
baths

of his own,

which

part of the treatise

the

of

Agrippa.
artist and additional

It is surmounted
a

by

two

figures
At
art

representingthe
sides
are

genius crowning
This
monument

him.

the of

two

figures representing the

was

Architecture

and Fabris.

Vicenza. On the
in

erected

by
a

Giuseppe
noble
wax

evening
black
on

of

this

eventful

day
ous numer-

catafalque, draped
tapers, was
Giovanni
some

and
to
a was own

illuminated funeral
car

by
of

carried Bellis. of

designed by
motifs
further

Professor

It

composed

introducing
adorned with

Palladio's
A

designs, and
surrounded breeze. and the

floral wreaths.

tality, cereal,symbol of immor-

surmounted and
was

by

cross

of laurel in the

ashes,
car

long
drawn

streamers

floated while

evening
of

The

by horses,

military
line

banners church

solemn

music of

accompanied
The

the

long

dignitaries,
of various decorated And carried life.
to

scientists, architects, and cortege moved

and
our

representatives slowly through

the
street

societies. Corso
so,
over

the

Principe Umberto
three he of

of

S. Lucia.
were

after

centuries,
so cannon

master's

ashes

ground
volley
of

frequently had proved

occasion. his
an

trodden

during
Bressan

A the

loud

impressive finale
in

solemnity
erected the
a

the
to

Francesco

1861

statue

memory, Vicenza.

by

Vincenzo he is

Gaiassi, in

Piazza

de'

Signori,at

Here

depicted

in

FAMILY

AND

DECLINING

DAYS

115

pensive
sketch the of crowned of

attitude,
a

holding
The the

in

one

hand is

compass the hand foot is

with

the

design.
On Ionic

left socket

arm

bent,

ing supportthe

chin.

near

the which

right

ment frag-

an

capital,
serpent,
also had the

upon

falls of

an

acanthus
A

by
of

symbol
a

immortality.
master

society
with the

Vicenza

bust

of

our

executed

following

inscription
Andrea

Palladio

Architetto
Per Maesta E Romana

Vicentino
di

Edificii.

Sapienza
IN

di

Scritti
E

SOMMO

PATRI

FVORI.

La

Societa Degli

di

Mutuo

Soccorso. Vicentini.

Artigiani
m.d.ccclxxi.

CHAPTER

THE

INFLUENCE

OF

PALLADIO

AND

HIS

SCHOOL

NO
done
to

art

can

be

brought

to

successful of motives that

issue which which form

without has been

long
before,

and and those

intimate of the

knowledge
various of
In

combined
and

produce

examples
ages.
cannot

approved

design
"

throughout
greatest
who The those power It has
more

successive natural laid up

Reynolds's
subsist
on

opinion,
its
own

the he

genius
no

stock,

materials his

can

produce
is

no

combinations. the will works be of his

extensive have invention." the

acquaintance
the
more

with

who of
was

excelled,

extensive

possession by
master,
a

of

this

knowledge
of ancient

of

the

art

of

the and and

past,
of his

gathered
great

careful

study

buildings
with
a

Vitruvius,
sense

together
of

clear

natural and
art
an

intuition,
avoidance Palladio The
to

harmony,

just
which among
on

proportion,
raised modern architecture Palladio followed
De is

of the

dangerous
foremost influence

precedent,
rank of The his
even

the

of

creations. has without all been

great

book school

already
doubt
more

mentioned. which
is in

of

that

most

universally

in

Europe,
"

especially
the

civil

buildings.
has
a a

Quincy
which

considers
must

that

style
its and

of

Palladio

propriety
medium of
course

have

facilitated

propagation,
licentious which

between those allow who of

vigorous
to

severity recognize

anarchy
rules of

refuse

rules,

PALLADIO He

AND

HIS talent

SCHOOL of Palladio

117 is doubtless

exception."
the Much interior

adds, "the
this
care

whence principle of Palladio's convenience

to exterior

emanates." facility and attention

was

devoted this
He
was

to the

of

his

and buildings,

seldom suited desired in

sacrificed his
art to

considerations of his

of effect.

also
so

the

needs

patrons, and

when

seldom

incurred

unnecessary

outlay, though
between is to be

successful

accomplishing a satisfactory agreement

and the ornamental. and Much

the necessary found

are

beauty merely
The the

in

the of

facades these

quadrangles
"

of his built

palaces.
on

There the

many of
narrow

in Vicenza

some

side
to

streets, from
with the
not

which of

it is almost satisfaction. and

our

impossible
most

view

them
are

any

degree
be

important
Palaces.
It

Valmarana,
to

Barbarano,
that

Porto

is
in

expected
censure

architect where

has

succeeded

escaping
to

the be

of critics ; but
if

is absolute
? In

fection persome

found, and

found, acknowledged
is

opinions
work of

the work the

of Palladio

only

excelled be held in

by

the

magic
list of the

ancients, and

it must

that the

modern

Palladianism modern results of

occupies
This the efforts

the

first

place
manner

styles.

Palladian of others

includes

in the and

revival
"

of Classicaltemporaries. con-

ism, viz., Vignola, Scamozzi

It licence the both of

Serlio

Palladio's the

expressed
of his time

revolt

against
We
art

extreme

composition

and

ornamentation had fallen.

into have
not

which had
meet

architecture
to

occasion with

remark

alreadythat
To

Palladio's
some

does and

universal

laudation.

"it is dull

lifeless,

dominated of

by scholasticism, and
convenience be held
"

of regardless these

considerations
cannot master

and utility

;
as

but

charges

in the self, him-

majority of
but of Palladio's

cases

proved against our

unsuccessful
in which

rather

against his
were

imitators. the

Many qualities

works

monumental

n8

ANDREA

PALLADIO

of

impressiveness and
the in mundane the which

grandeur
of
In

may

outweigh
fitness

to

some

extent

considerations element
use

of less and

important

ings build-

predominate
is

over

other aesthetic

considerations.

important public buildings

There
no

the

quality
was

should

prevail.

doubt,

however, that he
of
some

fascinated ancient
were

by

the

splendid proportions
that
on

the

buildings of
of

Rome,
too

and

occasions purpose. of Rome

his

designs
of the

imposing
and the
so

for their

Reproductions
were

great

stately edifices
needs
in

not

in entirely

accord

with this of

of

the

sixteenth than in
now

century, and
that of

was especially

climates be

other

Italy. An

example by

this

is to

found and

the the

villa at

Chiswick, erected

Lord

Burlington
Some

property of the Duke

Palladio's and also
over a

of Devonshire.

critics condemn
a

Corinthian the

capital as
windows.

having
he
so

clumsy profile,
duced frequently introhe
to

panel
the

of bas-relief

which

lower

Undoubtedly
the

possessed grandeur,
of the
to

power
can

of

united producing great simplicity be

most

which Thiene have

are a

clearly appreciatedin
believes Palladio's be observed
or were

facade and The

to

Palace. influenced few of the

Donaldson much of

Vignola
taste.

Serlio

following
his

points to
with

in

regard

style.

Pedestals,
avoided and the

either him.

panels
of his The

raisings,were
very entablatures
were

generally carefully
and when niches

by
above

Architraves

rarely sculptured,

upper

ornaments

centred
were

each with

other. the

doors, windows

composed
were

and greatest simplicity,

ments pediThe the of

doubtedly un-

used,
of of his the

they invariably appear

cornices
were

unbroken. with

members character

in

just harmony
and his of his the Ionic

order

employed,

arrangement
edifices he

carefullyadjusted. In many profiles shows a leaning towards

he often

order, though

employed

the

others.

PALLADIO
in

AND

HIS the

SCHOOL Palladian
as

119 influence excessive Book I.

in

Probably
been
so

no on

particular has
his

marked which he

English buildings
to

the
In

height

gave in

apartments.
with

his

Chapter XXIII.,
rooms

dealing

this, he
the

observes, that
apartment

with

flat

ceilingthe height of
of the these

should

be

equal
It
was

to

its breadth. the endeavour

to follow

seventeenth

and

eighteenth-

century architects
of value
to

proportions,which, although totally unsuited

held that the in

in

hot

climate, like Italy,were

that
In

of

England.
apartments
third exceeds and the
more

vaulted, square
should be
a

Palladio than the

a

height
those

breadth, but

whose
to

length
the

their breadth lines divided arch." writers

breadth,

height proportional
may be

length

together
of the in the

easily

found into
one

"

by joining both
line,which

length and
middle

breadth will

being
of the

give
were

exactly the
in his

height

These
and

proportions
them.

by English adopted largely

book
on

architects,and

Gibbs Thus be be

architecture rules
were

practically adopts applied

to to
cases

hard-and-fast

which

should
were

designed

for the

special use
the

which

apartments

to to
mere

in the lowering of architectural put, resulting

design

rules, without

regard

to

essential

qualityof
is held

fitness

and

propriety.
On writers the continent of

Europe,
a

Palladio

by

certain

to have

exercised

certain the
in

influence,and
most

according to
chief of the

Quatremere
master

de all

Quincy Europe,
in civil

became and

followed universally
sort

in

some

the

modern In

school

buildings.
certain
too

Germany
country
and
even

it

seems was

that

little influence
to

was

felt,
Italian of the

for

that

much
to

indebted

other

masters

to

France

produce

any

specimen

school.

120

ANDREA As

PALLADIO
"

to

enfants
were

France, says Boffrand, Milizia, in l'Ecole trouvds," and Goudouin, in

"

l'H6pitaldes
de

Mddicine,"

followers from

of

Palladio, but

their

ing works, although differnot

contemporary

architecture,are

mens strikingspeciin mind that of

to

of his school. In

regard
the

to

England,
and used been

it must

be

borne

during

Elizabethan had

Jacobean periods
without any

the

orders

architecture

special reference

recognizedproportions or rules, but according to fancy

liness altered of the

the will and

designers,and
were

although
their of

many is
a

and delightful
want

pleasingcombinations
and

there effected,

of statewas

harmony
the the

about

application, which
measurements

by

introduction

Palladian

by
of

Inigo Jones,
the orders of trained

great English architect.

became and
was

Henceforward every

Palladio

the
mason.

stock-in-trade

architect, carpenter

Inigo Jones (1572-1652)

architecture student
so

the

pioneer
be

of

Palladian that
as no

in

England,
of

and

it must his

confessed works

thoroughly
those

studied Palladio. the the

master's

did his and

Inigo Jones
transition

He,

however,

had

period, in
of St.

which

expiring
seen

Elizabethan in the

Jacobean stylecontributed

as detail,

beautiful in the

garden facade
north His and south

John's College, Oxford,

and
same own

sides of the

quadrangle
the he
notes went

in the his

college.
copy in of
no

journeys

in

Italy,and
that but

on

Palladio's

book, show
way, his
notes

about

his each

task

half-hearted
and made

carefully examined
and remarks with and thereon.

building
work came be-

Inigo Jones
Palladio

became, in short, saturated

he naturalized the in

Palladianism, whose

England,
of the

through
called in

him

great
or

master
as

English fully developed Classic

the

Renaissance,

it is sometimes introduced

Anglo-Classic
style by

style.

The

change

architectural

PALLADIO

AND of the Classical

HIS

SCHOOL
of architecture

121

Inigo Jones's use

extraordinary
As
in

orders far

was

its

results

and

reaching in
in
our

its effect.
of

mentioned,

he

preferred
them
and

Palladio's

proportions Inigo Jones

the

orders, and

studied Vicenza

very

thoroughly King
have of

master's
was

buildings at
to

elsewhere. the

vited in-

Copenhagen
to

by
in

Denmark,
wife in
to

but

he I.

returned But

England
left

the

train

of the

of
a

James

afterwards, when

he

must

been

lucrative 1612.

he practice, Palladio's

everythingfor another visit influence on English architecture

and for the intervention of

in Italy
was

therefore,
be
a

through Inigo Jones, paramount,

for

it must

matter

regret that, but

the

wealth, Common-

Jones's
Whitehall,
The and
now was

most
never

important design,the great palace at completed.

House of the

Banqueting
the
was

(afterwards the
United of Service this

Chapel Royal
in Institution)

Museum the

Whitehall which with

was

only part
out.

magnificent scheme
the skill of lines

carried

which

masterpiece shows Inigo Jones, although working on the

to his

This

his Italian master, gave for in

designs that English character which erected they are distinguished.This buildingwas 1619-1621, and, as already mentioned, forms a small
one

part only of
of the In the

of

the

grandest
under feature

architectural

conceptions
architrave
for is
a

Renaissance. facade the space

a

the

upper

decorated festive The

by festoons, building.

speciallysuitable

which greater part of the building,

is illustrated

in

Inigo Jones's designsby W. Kent, was to be three storeys in height ; each storey 30 feet,and the height to the top of the
parapet
was

to

be main

100

feet.

The

remainder

being

curtain

wings
House,

to
was

the
to

blocks, in design like the

Banqueting
storeys.

be 75 feet

high
R

divided

into two

122

ANDREA The
were

PALLADIO

plan of
to

this structure

was

masterpiece
Persian

; the

ings build-

be

arranged
the

round
as

courtyards,one
the Court.

of which

was

to

be

circular,and

known

As

showing
is
a

continuity of English tradition,although

the late Mr. with from

the chain schemed

occasionally broken,
court
are

J.
his

M.

Brydon
ment governin

circular which The vied

in connection

the

new

offices Whitehall. would have

"

being
court

erected of

designs

great
with

Jones's magnificent palace

Louvre.
"

that

of the House

In

the

executed

portion
outvied which he

the his has

Banqueting
master.

he

has

in many of stolid
two

respects

The

extraordinaryamount
is

variety
Classic

obtained

in what

apparently
that central them side

front is remarkable. columns either

are

It will be observed

no

adjacent
others,
half of

alike

except

the

two

ones,

the

by coupling, or
are

making
on

or three-quarter

columns,
the

all different

each

of the

central

axis

building.
There is
a

and sobriety

dignityabout
methods and the

the whole of

building
"

which
It

well
was
"

expresses in of
a

Palladio's

design.
of of the Court

the the

arrangement
Stuarts that

design genius
best of

Masques
first found In the

Inigo Jones
principles.

field for the decoration

displayof
of his

his Palladian works

interior his

Inigo Jones
detail.
ment orna-

showed

extraordinaryknowledge buildingswere mostly

exterior. the

architectural in which the

Palladio's
was

shells

lavished of the

on

Jones, however, carried

the interior and fittings, and chimney-

the details excelled

style throughout
features
as

in such His

doors, windows

pieces.
said with
were

deeply coffered
from

introduced

it is ceilingsin compartments France, but they accord perfectly

the bold

style of
of be

his architecture. which show of dian PallaGreen-

Among

others may

Inigo Jones's works

mentioned the

influence

river facade

PALLADIO wich this

AND

HIS

SCHOOL of his

123

Hospital, executed
building
Covent the
two

by Webb,
lower

one are

pupils.
under

In
one

storeys
Water in

included

huge
Paul's

Corinthian

order.

York houses of

Gate, London,
Lincoln's
Inn

St.

Garden,

Fields,

Chevening
the Palladian other

House,

portions

Wilton

House,
be

including
as

bridge,and

Stoke

Park, may
in

mentioned

examples. typical This latter building,erected

Palladian

1630-1634,
the semicircular
at

shows

very The
as

direct central

influence, especially in

plan.
end.

block,

or

corps
a

de

logis,has
erected

wings

colonnades, with
type of plan is
in have of the
one

library and
of many of

chapel
or

either

This

designed by
of
to

Palladio
must

neighbourhood
been
seen

Vicenza, several
his

which

by Jones during
are

visit

Italy,and
book. See

which 31.

there

illustrations

in

Palladio's

Plate The

enthusiasm is well

of

Lord and
was

Burlington (1695-1753)
it is recorded how
a

for

Inigo Jones
for
a

known,
latter

design

gateway
Hans

by

the

given
House,

to

Lord from

Burlington
Beaufort still be

by

Sir

Sloane, who
to

had

it removed where

House,
seen.

Chelsea,

Chiswick

it may

Pope

has

the
"

followinglines
O
was

on

this

gateway

Gate, how

cam'st from
wind
me

thou Chelsea

here ? last year

brought
with

Batter'd

and

weather.

Inigo Jones put

Sir Hans Let
me

together ;

Sloane alone
: me

Burlington brought Lord

hither."

Burlington
with

also
own

published Inigo Jones's designs

and those of Kent he
; this

for Whitehall
as

his

is interestin the

showing
two

the

high

estimation

held

for

genius of

these

architects.

124 Thus the

ANDREA influence of
must

PALLADIO Lord have

Burlington
been and
to

on

the He

later
was

English
a

Renaissance

very

great.

passionate admirer
Palladio. the
to

of

Inigo Jones
his of Palladio
an

of the

latter's

great
life

master,
there

During
works have

visits

and Italy, the artists

his

among
seems

and

of the

day, he
interest of

acquired
of Palladio

extraordinary likingand
his school. His and tion collecof works much
to
an

in the works

and

drawings by Palladio, already mentioned,

artists
of

by
to

other

the

period,must
of
on

have his

helped very
has had

familiarize

their

to peculiarities

entourage, and
such

have

popularized
So much
an

the art

Palladio, which

extraordinaryinfluence long
art

English
that

architecture.
term

is this the case,

the

Palladian
more

has than

for the
to

been

accepted word, meaning

one

much
even

of

Palladio, and
the certain

used

much

by

novelists

express

character dignified

of

eighteenth-century England
to

English

architecture. Leoni in 17 15,

was

Giacomo

brought published
a

over

to

by

Lord
in the

Burlington
translation in

it would especially
in

appear that year.

help

of Palladio he executed

Remaining
must

England
as

number

of

important buildings,
have

such

Latham

Hall,

Moor

Park, etc., which

influenced Leoni of in

contemporary
also

architecture. in

published

1726

an

edition

of the He

tecture archidied

Alberti, the

great Florentine

architect.

1746.
The

fullydeveloped English
given
its first great of the his works seventeenth

Renaissance

architecture the
ment commence-

was

therefore

impulse by
great

at

century
of
so

Inigo Jones,
master,
in Vicenza

who

founded whose

style on
he had

that studied

his

Palladio,
and

thoroughly
his

elsewhere.
on

Thus,
or

although founding
Palladian

designs largely
gave
to

Italian

rather

precedent,he

them

PALLADIO

AND

HIS

SCHOOL

125

them, in English character, attempting to make peculiarly his own words, "solid, proportional,according to rules,
masculine with
a

and

unaffected." the

This

tradition

was

continued

interruptions to
of

close

of the
were

eighteenthcentury by
in
a

body
To

English

architects

who

general
take

way

fluenced in-

thereby.
trace

this progress
our

step by step would

a

us

beyond principal
the

the

at "space

but disposal, their

glance

at
us

few
to

of the

architects

and

works

will

help
of

understand

development. John
for and Dr. Christ Webb

(pupiland
House,
Aldrich and

nephew
erected the

Jones) was
Palladian Peckwater and

responsible
manner,

Amesbury Henry

Wiltshire, in the
the

Quadrangle
of

of

Church,

church

campanile

All

Saints, Oxford.
Sir death
was

Christopher Wren Inigo Jones

a man

was

born

twenty years
his
an

before

the

of

in

1652. Although
rather than up

early education
he had architect,

that of

of science

extraordinary opportunitiesopened
fire of other London
in

to

him the

by

the

great
and of his

1666.

His

study
French

of

Louvre
some

buildings

at Paris

gives a
methods

tinge to Vignola

Palladian work, but it is,in general,essentially

as

in character

compared
of the The

with French

the

of

who

was

the

leader

school.
amount

extraordinary
and his of

of

work of

executed Palladio result

as

by
and

Sir

Christopher Wren,
Jones
number
on

the had

influence the would

Inigo

designs

direct
act

of

leaving a
for
ceeding suc-

buildings which
St. Paul's, London the old Gothic

models

generationsof
Besides

architects.

(Jones
in the the

had

added it

Classical

portico
bears

to

church

which

which replaced), of its conception,

some

the Wren

impress
was

of Palladio

sturdiness

responsible for

building of

fifty-

126 three years churches

ANDREA in the In

PALLADIO

city of London,
most

erected

between

the the

1670-1711.
of the and their

of these

there the in
use

is discernible of the

influence columns At the the

Palladian

ideals,and

Classical ways,

entablatures, used
Wren carried
out

many

novel works

universities of his

many

bearing
these the

impress

Palladian

training; amongst
Inner Court and
are

Sheldonian
of

Theatre, Oxford, the

Library
A from

TrinityCollege,Cambridge,
Greenwich which in river),
were

prominent examples.
blocks of
a

portion of
the

Hospital (the two

the scale and

furthest

treatment

Inigo Jones's
portion
of and

design Hampton Temple

Palladian

followed, Chelsea
Court

Hospital,

Palace, Morden

College,Blackheath,
to

Bar, London

(now
of his

removed

Theobald's

Park,

are Herts),

examples

to principles

in applying extraordinary facility various of a some types of building,

simple character. In the eighteenth century

houses
were

great number
in which the upon

of

country

erected

in

England
and

traditional

plans
Jones,
The

of and

Palladio, imitated
followed of

improved
erected.

by Inigo

by others, were
the "Vitruvius

pages will

Britannicus," by Colin
views of the many of the

Campbell,
most

furnish houses tribute

plans
erected
to

and

important
an

during

century, and
in

form A Castle Stowe of

a

eloquent
need

Palladian

influence. Hall

few

only be mentioned, Rainham Howard, by Sir John Vanbrugh,

by
Robert of

Norfolk,
and

Kedlestone
as

House,
central
or

Adam,

are

all notable

consisting
with

block

reception and
In
some

family rooms
cases,
as

wings,
such

quadrant
and

otherwise.

at
are

Kedlestone four

Holkham Similar

Hall, by W.
types
of

Kent

there (1730),
are

wings.
must

plan

shown

in

Palladio, and
at Stoke

have

influenced

English architecture,as
The

Park,

alreadymentioned.

peculiarItalian

method

of

treating

PALLADIO the

AND basement

HIS

SCHOOL

127 and

ground

floor

as

storey for the kitchens

on

and offices, nobile

In
or

placing the principal apartments

floor,is carried
out

the

piano
its in-

upper

in most Palladian
to

of these

buildings.

fact, the

of peculiarities

the

and style,

appropriateness when
were

unaltered

suit the

English climate,
satirists of the

referred

to

in

strong

terms

by
his

the

day.
Thus writes

Pope

in

one

of

to epistles

the

Earl

of

Burlington :
"

You

show
pompous

us

Rome

was

glorious not
were

profuse
of
use.

And Yet

buildings once
lord, your
with

things
noble
;

shall,my
random
of
one

just,your
from

rules

Fill half

the land

imitating fools
your

Who And Load Turn

*****

drawings beauty
vain many

sheets make

shall take
;

blunders with

some arcs

church
to

old theatric
;

state,

of

triumph

garden gate

Shall Proud

call the winds

to

through long
at
a

arcades door."

to

roar,

catch

cold

Venetian

Symmetry
in
measure

and

grandeur

were

the

which qualities in
a

dominated pre-

architecture,due eighteenth-century
of disciples the Palladian School.

large

to

the

Nicholas

Hawksmoor

(1666-1763), Colin (1666-1726),James

Kent

Campbell (d.
Gibbs

1734), Sir John Vanbrugh 1754),Thomas

the Earl of Adam Robert Archer

(1683-

(d. 1743),William
Sir

Talman

(d. 1715),

Burlington (1695-1753), (1728-1792), and

stand
out

(1684-1748),
Chambers

William
as

(1726-1796),
Palladio national Sir his
"

pre-eminently
and
as

the

followers
of the

of

and

Inigo Jones,
of the Chambers
on

the

developers

truly

elements William

English by
of the

Renaissance.

his

writings,and
of Civil

especially
and

Treatise
on

the Decorative

Part

Architecture,"

carried

the

traditions

Anglo-Palladian School,

128

ANDREA

PALLADIO

objected beginning
Thus his

to

the
to

Greek be felt.

revival

of

architecture

which

was

then

till

within followers

century
was

ago bound

the

School with

of the

Palladio traditions

and of

English

up nineteenth

English being
Greek,
been the

architecture. broken the Gothic the and

In

the of

century,
commenced. have each

tradition The in
turn

up,

age the

revivals

Renaissance
At

favoured Renaissance

by

architects.

the
to

present
hold

time,
the

although
for all

style
churches,
and that in of and

may it

be
is

said of

field

buildings
to

save

very

special
on

kind,

peculiar

England,
We think will deal

having
those the the

no

counterpart
who of have modern of and

the

Continent. the

studied

foregoing
architecture in which

pages
a

see

best influence

English
our

good

architect,
after

simplicity
the chief

stateliness

striving

repose

are

qualities.

BIBLIOGRAPHY

L
by

'ARCHITECTURE Vita di Andrea

8vo.

Universale. Palladio. Venice Palladio.

By
Paolo

Scamozzi. Gualdo 1749.

1694.

By
and

(published

Montanari).
Vita
di

Padoua,
Temanza.

Andrea

By

4to.

Venice,

1762,
Vite

1778.
dei

piu

Celebri

Architetti.

Temanza,

Venezia,

Palese,
Delia Vicenza.

1778.
Basiliche Discorso XIII. Antiche
e

specialmente
Arnaldi.

di

quella

di

by

Enea

Vicenza,

1769.

Capo

Bibl. Histoire Architectes.

degli
de

Scrittori. la Vie
et

P.

A.

G.

Calvi.

Vicenza,
des

1772.
Cdlebres

des

Ouvrages
(A.

plus
2

Quatremere-de-Quincy

C).

vols.

4to.

Paris,
The

1830.

Quarterly

Review. Architetti.

Vol.

XXXII.

1825.

Memorie Pp. 35-54Lives Mrs. of

degli

By

Milizia

(F.).

1781,

ii.

Celebrated
2

Architects.

F.

Milizia,
1826.

translated

by

Crecy.
Letters of

vols., 8vo.
Architect.
un

London,
Woods.
a

an

4to.
A. Palladio

London,
nel

1828. cimetero

Progetto
Vicentino
Palladian

di da

Monumento Osbolli.
at

Matteo Edifices sopra

Vicenza,

1836.
F. Arundale.

Vicenza.

By
Palladio.

1832. Padoua,

Osservazioni
1811. A

Andrea

Rigato.

Collection

of

the

most

approved

Examples

of

Door-

130
ways,
etc. ;

ANDREA

PALLADIO Sketch of the

preceded by By
di A. T. L.

History

of

Italian

Architecture.
Notizie

Donaldson.

London,
F. Scolari A.

1836. (in
"

Palladio.

By

Lettera

d'Appendice,"etc., 1837-1838 (R. LB.

L'Idea Ticozzi
e

Library).
di Stefano

dell' Architettura

Universale, per Cara Milan, 1838.

del Rinascimento

Luigi

Masieri.
e

L' Architettura
2

la Scultura

in Venezia.

vols. Le

Venice, 1838- 1840.

Fabbriche
e

i Monumenti
2

cospicui di

Venezi

(Conte

F.

L.

Cicognara).
Moderne. sul

vols., folio.

Venice, 1838-1840.

Rome Memoria Bertoliana.

Letarouilly. Paris, 1840. Sepolcro

di A.

Palladio, MSS.,

nella

Magrini.
Essays
on

Historical
2

Architecture.

By Hope. 3rd edition,

.

vols.

London,
e

1840.
Terme. B. Scamozzi and C.

Fabbriche Part I. Folio.

Foppini.

Geneva,

1842.

PareresullaSepolturadelPalladio.
1844.
and MSS. nella Todeschini. 8vo.

Giuseppe Todeschini,
iii. 444;
v.

Vasari, Lives.
422

London,

1852.
le

201,

486.
Intorno la Vita
e

Memorie

Opere

di

A.

Palladio.

By Magrini.
Gloria

Vicenza, 1845, and

in Vicenza. Arti in

Padoua,

1845-1846.
Ranalli.

Dell' Architettura della Belle

Magrini. Vicenza, 1845.

Italia.

Firenze,

1845The MS.
;

Palladian

School

of Architecture.

By

W.

Papworth,
Drawings by
at

1848, 1850 (R.I.B. A. Library).

of
a

Description
Chiswick,
Devonshire

Collection

of Architectural

by
at

A.

Palladio, in the possession of the Duke

villa at Chiswick read
as

of

his

; drawn
a

up

Messrs.

Poynter
the

and

Donaldson,
of

and British

Sessional

Paper

at

Royal

Institute

Architects, November

17th,

BIBLIOGRAPHY

131

1845.

{Note.

"

These

drawings
in Vicenza.

are

now

in the

R. I.B.A.

Library.)
Teatro

Olimpico
del

A.

Magrini.

8vo.

Padua,

1847.
II Palazzo The Museum Museo of Civico. Classical

Magrini. Vicenza, 1855.

Antiquities.
Burckhardt.

By

Edward

Falkener, 1852.
Die Renaissance in Italien.

1867. Stuttgart, 1872,

Pater.

English edition, London,

Critical XXII. 180. in the Notes

1890.

by Waring. History of
la

(Building News,
Walter

Studies

the Renaissance.

London,
Andrea

1873.
Palladio 1880.
e sua

Scuola.

Vittoria

Barichella.

Lonigo,

Gwilt's

Encyclopaedia

of

Architecture.

Revised

and

portionsrewritten by Wyatt Papworth. An Elementary History of Art.

edition, London,
The

London,
N.

1888.

D'Anvers.

3rd

1889.
Collection
at

Burlington-Devonshire
the Villa H. White. W.

of

Drawings,
a

formerly preserved in
that

Chiswick, with
R. I. B. A.

note

of

building.
The

Transactions,

vol. viii. N.

S., 1892.
of

Dictionary
Publication
6 vols.

Architecture, issued
detached

by
essays

the and

tectural Architrations. illus-

Society,with
Folio. Wren.
1

848- 1 892.

Inigo Jones
Renaissance

and in

By
Fine

W.

J. Loftie.

London. New

Italy:

Arts.

J. A. Symonds. By
H.

edition, 1897.
Some Architectural and Works of 1901. Art.

Inigo Jones.
Goodyear.

Inigo
York,

Triggs 1894.

Henry

Tanner.

Batsford, London.
New

Renaissance

and

Modern

132

ANDREA

PALLADIO in all Countries.

History
gusson. 5

of Architecture

James

Fer-

vols.,8vo.

1893, etc.
Architecture in

Early Renaissance
Gotch. Calli
1 1 e

England. By J. Alfred
2

90

1.

Batsford. in Venezia.

Canali

Ongania.

vols.

Venice,

890- 1 894.
A Short

History
Blomfield.

of Renaissance

Architecture

in "

England.
Sons.

Reginald
A

8vo., 1900.
on

George
the Banister

Bell

History
vol.

of Architecture Fletcher 1901.

Comparative Method,
Fletcher.

by

Professor
1

Banister

and

4th

edition,

London,
Guide
to

Baedeker's

Northern

Italy.

"

j?

CHISWICK

PRESS TOOKS

PRINTED

BY

CHARLES

WHITT1NGHAM

AND

CO.

COURT,

CHANCERY

LANE,

LONDON.