PALLADIO

ANDREA

WORKS

AND

LIFE

HIS

BY

BANISTER

F.

FLETCHER

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

LECTURER

ON

ARCHITECTURE

LECTURER

LONDON;

ON

AT

THE

ARCHITECTURE;
R.I.B.A.

AND

1896;

PAST

AT

LECTURER

FORMERLY

BURSAR,

GODWIN

MEDALLIST,

UNIVERSITY

ASSOCIATION;

ARCHITECTURAL

1893;

TITE

VICE-PRESIDENT

MEDALLIST.
OF

THE

ASSOCIATION

ARCHITECTURAL

LONDON
GEORGE

BELL

AND

1902

\i

SONS

ICING'S

EXTENSION

COLLEGE,

1895; ESSAY

KJft

CH1SWICK

CHARLES

PRESS:

TOOKS

to

COURT,

CHANCERY

WHITTINGHAM

AND

LANE,

LONDON.

CO.

FOREWORDS

MANY
write
it has

but

have

the

this

life of

been

authentic

difficult

details

interest

the

to

After

Vicenza

the

at

to

was

the
in

position

of

work

is
does

time)

furnishes

of

the

his

accepting
the

though
1

Calvi,
Gualdo,

'

"

Andrea

G.

the

A.

to

Paolo,
Palladio

"

has

Bibl.

"Vita
e

degli
di

la

sua

A.

have

at

had

in

same

regard

Gualdo
his

garding
re-

the

held

to

(whose

father

the

at

which

account

Manetti

and

therefore

Vicenza,

whose

1880.

Padoua,

the

favour

of

some

of

here.2

excellent,

interesting

1772.

Montanari,

Lonigo,

given

with

me

by

in

am

confidence,

Barichella,

Scrittori,"

held

position

furnished

Scuola,"

living

much

by

is

book

Palladio."

father

information

integrity,
all

Vittoria

has

one

"

Paolo

high

great

his

graphies,
bio-

Brunelleschi.

the

in

no

whose

holding

taken

with

work3

P.,

of

prove

Palladio,

Manetti

as

great

their

also

brief,

of

found

indebted

am

sources

these

that

accurate

detailed

statements

information
I

same

and

these

consequently

life ;

notes

knowing

family,

of

unfortunately

the

life

Furthermore,
Gualdo

his

from

give

to

Renaissance,

of

Gualdo,

must

Palladio

to

though

not

Paolo

He

of

compiled

times

might

Calvi,1

with

acquiring

incidents

Brunelleschi,

which

life

agree

time.

regard

of

any

contemporary

opportunities

many

the

consideration

than

one

same

of

from

daily

careful

better

"

architect

glean

various

at

reader.

and

Gualdo

made

great

his

inclined
a

been

to

general

am

written

Nicolo

of

long

ever

attempts

1749.

FOREWORDS

vi
and

matter,

together with

is indeed

work

rank

should

Bertotti's

labour

oversight a name
apology. Though
of

not

are

great work,

has

few

the

to

writings

master's

designs.
been,

in

and

to

his

to

us

the various

life's

authors

learn

to

which

tributed
con-

However,

we

labour, there
in his

the

on

remind

to

private

glad

only

not

"

still remain

which

been

by

affect his

cannot

have

if

sincere

my

Palladio's

of his character.

down

of

those

I offer

early influences

regard

handed

list of all the

derived, but

been

omitted

episodes and

edifices

the

in

but

and

important

buildings have

importance,

development

ample testimony

Octave

reward, and

complete

nevertheless

rejoicethat

but

can

rich

of Andrea

details

the

should

of the

more

and

and

our

has

been

paramount

we

to

append

to

any

life

guide

information

which

from

sources

contribution

in this work.

endeavoured

I have

of

of the various

measurements

main, followed

in the

learned

deserving

best

the

as

latter's

This

Scamozzi.4

Bertotti

under

laid

and

genius

Magrini,2Todeschini,3

Temanza,1

found

be

his

for

authors

other

methods,

Palladio's

of

study

admiration

ardent

an

personality. Among
will

careful

displays a

is

own

subject,
of his

us

is much
diversityof opinion among
great -genius. There
thenticity
the various
authors, including Bertotti, regarding the au-

do

not

wearying

purpose

controversies,
which
but

serve

to

Magrini, A.,

the

"

"

di A.

Vita

Memorie

Scamozzi,

(MSS.

nella

O. B., " Les

illustres,"
4 vols.,with

the

mind.

"

mere

be

his, but

we

these

complex

notes,
foot-

pedagogy,

and

of Palladio's

Many

original

Venezia, Palese, 1778.

Palladio."

intorno

with

text

instances

Todeschini, Prof. Guiseppe,

Agosto," 1844.
et

T.,

load

to

to

unnecessarilywith

the reader

many

confuse

in

are

Temanza,

yet

nor

designs reputed

of the

of many

la vita di A.

sulla

Parere

Palladio," 1845.

sepoltura del

A.

Palladio,del

Bertoliana.)
Batimens

et les

plates,Vicence,

Desseins

1796.

ideA. Palladio, recueillis

vii

FOREWORDS

and

drawings
R.

I.B.A.,

designs

are

where

they

were

Duke

of

Grace

the

man's

life cannot

and

because

doubt,
still holds

this

him

To

and

length
of
to

and

city,

breadth

of

continental

architects.

the

architecture

of

and

climate

our

the

To

how,

by

force

one

of

the

art

to

which

indebted

am

looking

of

men

leaving
he

Palladio, and

for

to

of

man

aided

his

New

Bridge

London,
1

"

Architecture

also

sobriety

well

of

some

with

in

both

regard

in revision

of

example

an

"

extraction

mean

can

by application, become

Hall
to

for

details

of the

Banister
29,

tion
percep-

honoured

examples

of

life.

Hamilton

help

the

by

posterity ennobling

Mrs.
in

fine

day, creating an

his

to

grace

affected

forms

career

devoted

authorities

up

inclination,

greatest
and

us,

by Inigo

taste.

"

informs

the

markedly opposed

so

is

the

throughout

harmonizing

author's

our

of natural

reputation,
that

national

student

Leoni

as

There

so,

of

art

edifices

found

manner

England,

the

the

owe

whose

of detail,

great

especially

land, displaying that

Baroco

the

his

architect

introduced

as

also

purity

the

of

vulgarity

of

position, especially

we

others

are

the

and

proportion

the

and

Chambers

great

our

the

registrar of

the
first

the

to

it is

was

fully developed English Renaissance,

Jones, Wren,

of

this

of

perusal

architect

the

To

buildings.

civil

to

of interest, both

Palladio, without

regard

library

deposited by permission

prove

architecture, which

new

in

but

the

in

present

Devonshire.

student.

the

to

at

in

assistance
of

the

life

of

generally.

text

F.

Fletcher.

Street,
E.C.

of Andrea

Palladio," translated

by Leoni, London,

1742.

regard

In

Note.

to

referring

the

measurements

the

volume,

the

illustrations

ings,
build-

to

"

throughout

etc.,

but

feet,

English

to

reduced

have

taken

all

these

Palladio's

from

on

and

books,

Bertotti's

English

foot

that

foot,
i

Vicentine

is

the

to

by

refer

they

to

the

Vicenza

foot

Vicenza

ft.

one-seventh

if

An

in.

is

in

measurement

to
a

so

obtain

feet,
we

the

equivalent

to

as

adding

foot.

in

English

feet.

OF

LIST

CONTENTS

CHAPTER

I.

Birth

Parentage

and

i
....

II.
III.

Manhood

Environment

and

Palladio

as

Architect

an

12
.

IV.

Public

Buildings

21
.

Bridges
The

22
......

(Palazzo

Basilica

Ragione)

della

at

26

Vicenza
.....

The

Teatro

The

Theatre

The

V.

Town

Olimpico

at

Vicenza

31

Parma

at

Monument

37
the

to

Conte

Leonardo

Porto

37

Houses

39

The

Palazzo

Chiericati

40

The

Palazzo

Thiene

42

The

Palazzo

Valmarana

44

House
The

for

Signor

Palazzo

Guioglio

Capra

47

Barbarano

47

The

Palazzo

Porto

5o

....

The

Palazzo

The

Casa

Other

del
del

Town

Consiglio

52

Diavolo

53
whose

Houses,

authorship

doubtful

55

.....

VI.

Houses

Country
The

Villa

is

59

Capra

61
....

House

at

House

at

cisco

for

Bagnolo
La

for

Frata

Badoero
....

the
the

Conti
Nobile

Pisani

64

Fran

64

LIST

OF

CONTENTS

:hapter

VI.

page

Country

Houses

House

continued.

"

Casalto

at

for

the

Nobile

Marco

Zeno

65

.......

at Gambarare

House
and

de

Luigi

House

for the

Daniele

Nicolo

Foscari

65

....

Maser

at

Nobili

for

the

Monsignore

Barbero

66
.....

House

for the Nobile

Montagnana

at

cisco
Fran-

Pisano

67

.....

House

Piombino

at

Giorgio
House
House

68
.....

for Leonardo

Panzolo

at

Nobile

Cornaro
Morocco

at

the

for

68

Mocenigo

for Leonardo

Emo
.

House

Final

at

for

Nobile

the

Biagio

Sarraceno

69

......

House

Ghizzole

at

Ragona
House

House

for

70

Pogliana
Liziera

at

Francesco

for the Conte

for

Pogliana

and

at

Valmarana

Ludovico

for the Conti

Meledo

Trissini

Repeta
House

and

at

for

Campiglia

at

72
Marco

Signor

72

......

Cigogna

Teodoro

for the

Conti

Eduardo

Thiene

73

....

House

at

Angarano

for the Conte

Giacomo

Angarano
House

Quinto

at

73
for

the

Conte

Ottavo'

Thiene

74

.......

House
Godi

at Lonedo

71

Francesco
...

House

70

Giovanni

Signor
.

House

Girolamo

Signor

......

at

69

for

Signor

Girolamo

de'

75

LIST

OF

CONTENTS

xi
PAGE

CHAPTER

VI.

Country

Houses

House

Santa

at

Antonio
House

La

for the

Sophia

Sarego

at

Conte

Marc

75

.....

for the

Miga

Sarego
Other

continued.

"

Conte

Annibale

76

......

attributed

Houses

Palladio

to

VII.

/Churches
II

76
81

Venice

Redentore,

83
....

S.

Church

87
.

of

Maser

at

Church

85

Venice

Giorgio Maggiore,

S.

88

Venice

Lucia,

...

Church

of

Zitelle, Venice

Le

88
.

Facade

of

S.

della

Francesca

Vigna,

Venice

Design

89
for

the

Facade

of

S.

Petronio,

Bologna
Convent
VIII.

Literary

of

90

Carita, Venice

La

Works

The
to

93

94

Drawings

and

Proportions

the

of

Orders

according

Palladio

97

.....

The

Various
of

Palladio's

Editions

and

Translations

Works
.

The

IX.
X.

Palladio's

Palladio's
The

Family

Influence
School

Bibliography

Drawings
and

of

106
.

Declining
Palladio

104

Collection

Burlington-Devonshire
of

Days
and

i i i

His

116

129

LIST

A.

Indicates

Giacomo

by

Indicates

Desseins

that

de

Andre

illustration

Leoni,
the

are

is

taken

is

taken

London,

illustration

Palladio,

unmarked

Those

ILLUSTRATIONS

the

that

Palladio,"

OF

par

Architecture

The

"

of

1742.

Octave

from

Bertotti
from

reproduced

from

Les

"

Scamozzi,

Batimens

les

et

Vicenza,

1796."

photographs.
PAGE

i.

Portrait

of

ENGRAVED

2.

-f

The

Veronese,
6

(Palazzo

Basilica

fTuR

by

PlCART

BY

Vicenza.

3.

Palladio,

Paolo

Ragione),

della

Plan

16
Vicenza.

Basilica,

Side

Elevation

18
.

4.

5.

The

Basilica,

Vicenza.

Transverse

The

Basilica,

Vicenza.

Loggia

Section.
the

on

26

first

floor

28
........

6.

The

Vicenza.

Basilica,

General

view

from

Piazza

28
........

7.

Basilica,

The

Ionic

orders

Vicenza.
to

Details

of

Doric

and

facade

28
.....

8.

Arco

di

Vicenza.

Trionfo,

Plan.

Elevation.

Section

30

.......

9.
10.

Arco

di

'I-Teatro

Trionfo

30

Olimpico,

Vicenza.

Plan

32
.

11.

Teatro

Olimpico,

Interior
.......

Vicenza.

General

view

of

34

xiv

LIST

OF

ILLUSTRATIONS
PAGE

Teatro

12.

Olimpico,

part of
13.

14.

of central

Leonardo

Porto,

.....

to

S.

View

scene

Monument
*fin

Vicenza.

Conte

the

Vicenza

Lorenzo,

f Monument

to

Vicenza.

Conte

the

Leonardo

Porto,

Details
....

The

15.

Palazzo

Municipale,

17.
18.

....

Palazzo

Chiericati,

Palazzo

Thiene

Vicenza

.....

Palazzo
-j-

Valmarana,

Vicenza.

Palazzo

Valmarana,

Vicenza

Palazzo

Barbarano,

Vicenza

Palazzo

Porto,

19.
20.
21.

Window

Palladio

dressingsby
16.

Brescia.

Plan
.

Vicenza.

Detail

of

yard
Court.

22.

Palazzo

Porto,

23.

Palazzo

del

24.

The

House

25.

"J-The

Villa

Vicenza
Vicenza

Consiglio,

Vicenza

Palladio,

of

Capra

(the

"Rotonda")

near

Plan

Vicenza.

Capra,

26.

The
-j-

Villa

27.

i'-THE

Villa

Capra,

28.

The

Villa

Capra,

...

Vicenza.

near

Elevation.

Vicenza.

near

Section

Vicenza.

near

General

view
........

29.

Villa

The

Maser,

Province

Maser,

Province

....

Giacomelli,

Treviso.

of

31.

at

Plan

Treviso.

of

30.

Giacomelli,

Villa

The
-j-

House

at

General

at

view

Meledo
.

32.

f II

Redentore,

Venice.

Plan

33.

Il

Redentore,

Venice.

Front

34.

Il
-j-

Redentore,

Venice.

Front

35.

Il
-j-

Redentore,

Venice.

Section

view
.

Elevation
.

LIST

OF

ILLUSTRATIONS

xv

PAGE

36. fS.

Giorgio

Venice.

Plan
.

Maggiore,

Giorgio

S.

37.

Maggiore,

Venice.

84

Interior

view

84

........

38.

S. Giorgio

39.

The

Villa

Maser,

at

General

view

view.

84

Province

of the

Gardens

Church

and
The

General

Venice.

Giacomelli

Treviso.

of

40.

Maggiore,

86

Villa

Giacomelli

Maser.

at

View

of

Church
41.

f S.

88

Petronio,

Bologna.

Palladio's

sign
de-

third

facade

for the

90

.....

42.

S.

Palladio's

Bologna.

Petronio,

fourth

sign
de-

facade

for the

92

.....

43.

*The

Five

Orders
General

Palladio.

44.

*The

Architecture

of

proportions

Order.

Doric

Proportions
.

45.

The

Doric
on

46.

*The

96

...

of

capital

entablature

and
*

after

Arcade

Order.

with

98

half columns

pedestals

98

.......

Ionic

Order.

General

proportions

of

colonnade

100

.......

47.

The

Ionic

on

Arcade

Order.

with

half columns

pedestals

100

.......

48.

The

Ionic

Order.

settingout
49.

The

Ionic

*The

capitalshowing
102

....

Order.

Detail

Corinthian
of

of

of volute, etc.

part of column

upper
50.

Details

of entablature

and
102

.....

Order.

General

tions
propor-

colonnade

104

.....

51.

*The

Corinthian

columns

52.

The

on

Corinthian

columns

and

Order.

pedestals

Arcade
.

Order.

pedestal and

with
.

half
.

Details

of base

impost

of arcade

.104
of
106
.

xvi

LIST

OF

ILLUSTRATIONS

PAGE

53.

*The

Corinthian
and

54.

The

Order.

upper

Composite
of

part

Details
of

Order.

*The

lature
entab.106

column
.

General

proportions
108

colonnade

55.

of

Composite
columns

Order.

on

Arcade

half

with

108

pedestals
.....

56.

*The

Composite
and

Order.

upper

part

Details
of

of

lature
entab-

column

.110
.

PALLADIO

ANDREA

CHAPTER

BIRTH

the

OF

by
exists

but

Paolo
1

518.

the

These

statements

thus

further

no

remark
"

that
di

Vita

Andrea

taken

notes

and

Gualdo

belonged

the

imagine
1

Calvi,

Vicenza,
'

P.,

Mosca,

Gualdo,

by

"

1772,

Paolo,

Gabriella

chapter
"Vita

di

vii.
A.

da
p.

S.

of

friend

and

there

interesting

of

Palladio.

"

who

Vicenza,

arts, and

given

to

Bibl.

it is easy
both

father

degli Scrittori,"

II.

Palladio."
B

Montanari,

most

enters

family

Maria."

from

master.

Andrea

the

but

can

Gualdo,

our

of

of

1508,

written

work

opportunities

frequent
Angiolo

love

in

We

Nicolo

father

work

illustrious

an

themselves

distinguished
to

to

and

life

painting

born

was

probably

unpretentious

the

into

personal

and

small

thoroughly

also

his

upon

twenty-three.

short

was

by

based

statement.

year

Unfortunately

^ualdo's
"

time

he

the

in

in

as

age

of

exception

who,

older.
this

of

opinion

the

born

that

us

years

Palladio

at

contemporary
This

ten

confirmation
in Calvi's

been

his

gave

informs

just

the

probability

all

there

character.

Licinio,

1541,

however,
him

in

are

in

portrait

making

having

as

scribed
(de-

architecture)

with

biographers,

him

Palladio

authentic

an

Bernardino

of

Gualdo,

of

his

all

describe

authority

Paolo

is

that

of

Newton

information

Gualdo,

Andrea's

the

as

Andrea

of

parentage

some

scant

find

We

PARENTAGE

AND

and

life

early

Padoua,

1749.

PALLADIO

ANDREA

and

son,

born

of the

day,

the

Gualdo,
scientists
Cardinal

Castagna,
and

holy orders,
the

declined
Padoua

Palladio's
fell

name

was

and

preceded by

prefixed to

the

in

master

his

creation

Temanza,2

and

Arnaldi

him

be

to

which

Scamozzi

his

died

in

occupation

that

Magrini
at

mason

Paladio

itself does

writers

Doninamo,

Vicenza,
A.

Seconda

Arnaldi, Enea,
discorso

as

prove,

"

some

libreria,ed.
Delle

2a,

basiliche

Vicenza," Vendramini,

Palladio," citata,p.

290.

Venezia,

antiche

1769, capo

per

imagined
the

Palace
is also

(who
a

for the
have

discoveryof
been

Pietro,
he

Petri," is the
but

this

believe, that

specialmente

di

Temanza,

in

Pietro

Marcolini, 1555,
xiii.

of

master

Vicenza, where

documents,

in

not

official of

an

of

quondam

signature continuallyrepeated

Both

Vicentinos,"

and

to

our

presentatum

of Udine

appears
a

of

Fontana

to

of

used

assisted

Temanza

Castle

name

"Andreas

1545.

name

Vicenza.

architect

Arnaldi, the

father,whose

Palladio's

have

Palladium

Andream

indebted

latter

regarding

error

are

we

existed

the

Designum

this

and

at

Giovanni

his

as

Andrea,

Basilica

by

for the

great merits,

This

to

this Giovanni.

been

supposed to have
are
Palladio). We
and

which

supposed

"

died, in

which

one

of

one

the

humbly

he

popular saint, and

family.1

deceived

discover

substituted

was

the

took

Andrea,

of

name

Giovanni,

doubt

of

who
wrote,
registry,
magistrum Johannen et
to

this

was

the

endeavoured

of

in

any

who

Giovanni

certain

the

of

He

there.

him

that

and

he

of his

great

Tasso

VII.

When

worthy

generally known

Magrini, dispels

by

honours.

Cathedral

hereditary

was

Urban

high office,but

for

was

festival

of the

house

his

in

Paolo

days.

friend

Pope

all

parents gave
the

was

received

lie in the

near

informed

and

1621, his funeral

in

birth

1553,

selected

mitre

his remains

and

in

afterwards

was

in these

Palladio

conversing with

of

son

P- ISS-

quella

di

"Vita

di

BIRTH
without

was

for
to

building

the 26th

of

that Andrea

did

in the

as

Both

authentic

much

an

his

to

of minor
we

Conte
love

describes

"

due

natural
read

designed

the

primi

He

Angarano."

boy, he

tells

Vicenza.

studied
of

an

Caesar's

bridge

mathematics,
architect's

Rogito

with

Trissino

no
2

was

sculptor, at

Though

nevertheless

de

is from

libri dell'

we

of his
tributed
con-

these

are

that he

us

for

the

over

and

from

utilizingthis
that

which

he

education.
describes

Settembre

del

1540

Palladio

de

an

humble

him

as

al

of

that,

imagined

Caesar's
the

over

considered

His

own

earlypossesseda great

architecture, and

Rhine

mentions

Palladio's

architettura,dedica

"Commentaries,"

Gualdo

by Leoni,3 who
1

learn

inclination

afterwards
description,
near

is

episodes which

and

influences

his

; Gualdo

statement

become

in after years,

success

there

of the circumstances

some

of

derived

"convenient."

as

privileged to

in

and

that Andrea

had

basis

importance.
are

statement

he

but

one.

acquaintance

date, when

many

family name,

Petri," the

this

regarding

the various

his

patron, Trissino, but

like to know

much

All

his

to

prove

family name,

with

solid
us

reference

architect,on

to

possess

inform

Andrea's

he

Andrea

quondam
a

found

appeared

appears

means

from

later

boyhood, and
but

no

Scotta

that

which

age

should

also

information

maintaining

by

and

Beni

This

Paladio

is

Messer

"

to

list of accounts

a
l

in Lonedo

this time

at

Andrea

of Palladio

name

paid

list he

this induction

of

not

same

"presente

Godi

1540."

august

Bertotti, in

name.

Conte

to

of six livres

sum

family

PARENTAGE

AND

mean

and

written

Bacchiglione,
also

seriously

essential

birth
"

as

part

is corroborated

extraction,"

notaio, B. Massaria, nel

quale

il

Palladio, etc.
2

1742.

Gualdo, P., "Vita

di A.

"Architecture

A.

of

Palladio," Padoua,

1749.

Palladio," by Leoni, with

notes

by Inigo Jones,

ANDREA

4
that

in consideration

adding

"

reward

for the

free of the
this

But

thus

conferred
who

that

us

in

him

upon
all

that

The

Palladio's

of

days

eventful
in

Savonarola,

and

Florence,

heretic

of

Pope

and

about

this

was

master

jewels

works

of

the

of

writings

the

city,dividing

siege, when

Antiquity

Leon

branch

Leoni

writings on

it into

of

Alberti
and
the

May,

St.

laid

names

birth

preacher

debts,

the

the
formed

at

this

all

Pope

(who

general superintendent
the

studied

down

ancient

diligently

ground-plan
Then

imprisoned,

historian, among
the

Michael
excelled

and

Cesi,
others.

principal study

time, and

Brunelleschi

Angelo,
in

their

of
the

came

Goritz, Colocco,

the

of

his

pay

in

! burnt

read

we

to

his

alas

was,

regions.

sacrificed

Tuscany,

subject.

son's

preceding it)

exploit

to

master,

our

and

have

Vasari

his
whose

as

1498,

plans

Valeriani

learning

career

Peter, and

fourteen

lives

in

Pietro,

before

years

his

sacked,

was

to

seems

was

great Raphael of Urbino

also, like

and

one,

mason

those

being pledged

of

Vitruvius,

valuable

Florence,

works

Rome

Calvi, Baldus,

every

tiara

He

It is

studious

secure

Later, in 1521,

Antiquities) made

of Rome.

many

stake.

time, too, the

the

so

23rd

Leo's

was

education

masters

few

very

the

of the
of

started

at

of

care

1482, had
on

to

fame

Italy.

father, the
much

nobility."

his

excellent

youth (and

But

ones.

was

know.

do

were

as

the

unfortunately

not

life

most

faithful

to

when

as

made

was

of the

body

northern

of

probability sacrificed

future, intrusting him

we

his

by

the

early
a

city,he

native

whole

his

great abilities,and

Palladio

to

the

throughout

his
into

came

naturally infer

we

did

received

only

to

of his

he

and

honour

evident

and

honours

same,

established

PALLADIO

in
in

Perucci,
respective

CHAPTER

MANHOOD

WHEN

sculptor
no

meanwhile
His

master

which

the
later

the

this

of

it

believed,

is

grand

Palladio

was

Andrea

deserted

was

devoted

so

and

also

engaged.

also

doubtless
Gallo

Alberti.

Udine,

of

upon

addition

In

studied
and

the

Mangelli
in

Florentines,

Giovanni

was

palace

have

we

soon

Vitruvius

San

Cronaca,

Cinque-Cento

were

he

youthful

age

have

to

which

to

is

precise

works

the

Alberti,

his

he

favour

of

Renaissance.
It

Palladio's

was

with

pregnant
the

fired

leschi's
the

with

the
and

great

necessary

In

great
Venetian

greatest

of

spirit

to

the

others

to

follow

art

his

the

of

example
the

of
him

Brunelhad

and
;

age

find

time.

building,

from

an

work

to

before

century

his

departure

in

surprising

not

efforts

original

born

continue

to

therefore

prevailing

distinctive

middle

is

be

to

ambition

impetus

many

displaying

it

fortune

good

restless

Renaissance

also

the

of

years

whom

of

however,

time,

Michelozzi,

of

but

the

studying

and

Palladio

architecture,

architect

Vitruvius

of

discover

appears,

of

at

in

works
all

that

also

Fontana,

to

He

for

ENVIRONMENT

Vicenza,

at

information.

sculpture

AND

next

we

II

given
had

with

couraged
en-

results

architecture

of

ages.

this,

the

schools
:

fifteenth

of
of

works

century,

architecture,

the

the

Florentine,

first, Brunelleschi

being

the

dome

formed

were

was

of

the

the

the
Roman

master,

Cathedral,

three
and
his
Santo

Spiritoand

the

Renaissance.
the

as

the

which

School, built the

Club

Carlton

the

edifice built

sumptuous
When
Andrea

painted by
restoration

beginning the
arcades

dark,

genius."

exist, including
of

custom

the

It

age."
in

Rome

whom
with

was

when

1541,

he

chronology, thirty-three
years
somewhat

late
but

Gualdo

be

to

to

At

correct.

exceedingly industrious
of

drawings
Trissino
an

was

the
a

man

orator, poet and

carrying out
1

Temanza,

any

classic

architect.
this

di A.

of

of

the

fact

rate, Palladio
his

and

visit
in

many

Later

we

in

of

Gualdo's

to

appear
of

take

we

must

his

Gian

first visited

would

tecture,
archiPaolo

have

Rome,

to

the

ornament

he

if

one

portrait
with

practicalstudy

as

in

this

This

age.

that

now

patron

that

formerly in
is

as

patron'splans

S., "Vita

portraitthus

according

was,

buildings

of wealth

and

"

patron

during

was

surrounding

was

possessed

accept it

most

he

accordance

In

his

commence

must

we

Esq.,

describes

this

the

time

the

Licinio

Vicenza.

he

Palladio

computation)

the

engravings

Palladio

times

Giorgio Trissino,
our

at

the

rich, his appearance

of

painting

one

and

the

ancients.

this

describes

Royal galleries. Many

our

At

of

(of

also

opinion

(inGualdo's

of the Basilica

possession of George Smith,

the
of

This

Venice

which

of the

Licinio.

vivacious, dress

eyes

his

time

of age

of

master

copy),and

in

the

Temanza1

at Vicenza.

Face

of

since

of Roman

architect

Mark,

Procuratie,

being

thirty-three
years
was

modified

the

this

especiallyeulogizes;

the

had

remembered

the

as

of St.

Library

is

of

Palace

magnificent

Peruzzi

Sansovino,

Later

be

will also

Peter's,and

Farnesina.

Venetian

good examples

of Urbino

St.

Pentelli

Baccio

Rome,

considered

Bramante

designerof

Villa

In

Pitti Palace.

palaces,both

built two

"

PALLADIO

ANDREA

been
as

his

treatise

testify.
accomplishments ;

find

for the

Palladio

fully
faith-

restoration

Palladio," Venezia, 1778.

of

I.

FROM

PORTRAIT

BV

I'AOLO

PALLADIO.

VERONESE,

ENGRAVED

BY

PICART.

Palazzo

the

and

with

constituted

he

for the

presented

third

Ciro,

to

in

time

at various

first

periods

Istria,and

in

Nimes.

July, and

the

in

taking

dai

liberata

of Trissino.

"

his

visitingTivoli, Palestrina,
L'ltalia

"

son

Rome,

in

Vicenza

returning to

books, entitled

nine

he visited

of his

also hear

we

Albano,

him

which

also find that

We

May, 1547,

Porto

Criccoli,which

at

Rimini, Naples, Capua, Pola

Ancona,
In

Trissino

work.

known

ENVIRONMENT

AND

MANHOOD

In

Goti,"
he

1551

is

of Venetian

company

Gentlemen."1
We

read

in these
there
her

of

temples and

minutely
He

and

edifices ;

measure

that,

us

scrupulous

of this

kind

and

the

finest

very

often, took

to

be

might

the whole

what

comprehend
make

journeys
I

of

born

for himself
his

During
came

often

day,

and

able

who

in

stay

in contact
in

must

the

ancient

city

many

consequence

the

true

Here

manner.

"

Gualdo, P., Vita

2

"

Le

antichita

di

di A.

Roma,"

he

even

to

been, and

to

taking
under-

an

that

he

good

of others."2

not

was

Palladio

doubt

derived
own

gaze

Palladio," Montanari,
A.

but

once

great artists of the

have

could

thing
any-

fragments
this

no

of the

knowledge, thereby strengthening his

to

not

have

considers

so

justestreason

such

for the

with

I became

parts of Italy and

thought

to

accuracy

the

likewise

only, but

handed

architecture.

indeed

needs
I

of

ruins

has

utmost

from

must

man

he

afterwards,

time

discoveringthat

not

several

draughts accordingly.
worthy

the

without

performed

proportion, that

it, that

of

is

them,

of

the

writings on

with

began

examiner

an

valuable

His

Rome.

of which

results

master

our

labour, of measuring

of hard

time

to

among

and
part by itself,

minute

every

of

researches

his
I

"

nobles

or

the
theorizing,

posterityin

to

tells

out

Pope

in earnest

spent

was

down

the

days by

extended

being

patronage

no

convictions
upon

Padoua,

Palladio, 1565, Venice.

additional

the

1749,

as

great

p. 8.

ANDREA

achievements

of

direction
on

might

wander

of

the

Felis

of the

di

stood, those

in

"Rome

hall
to

the

Rome

was

ages,

and

them

in indolence.
to

restoration

In

called
have
the

he

II

Castello, begun

been
screens

his

master.

on

three

Vicenza, this being

gusson
addition

quotes
of

this

In

sides

this
sort

as

to

an
a

work

Pope

surely effacing the

on

which

dawn

of

had

the

appears

Trissino

at

the

Godi

on

the

by

Giovanni

of

Public

to

1545

the

the

X.,

with

an

Gothic

of

rust

long

of the
bound

over

and

later

Renaissance.

to

Art

have

was

been

Criccoli.

the

Later, in

Palace

Lonedo.

at

Palace

at

Fontana,

1549

Palladio

Sala

della

Udine,

stated

to

designed

Ragione

greatest achievements.

almost

his

Leo

surface
so

long

of

but

of his

one

only

laughter; bright

designing
work

at

was

in the

altar

an

while

that

us

and

recognized work

of his

built

long night was

Palazzo

the

wherein

of Corinthian

days, under

fetters

glorious

of the
hear

1547

the

still

Cosino, and

St.

art that kind

remained

long

so

Rome

gloriesof

Rotunda,

Spirito, the

slowly

gardens

gold prevailed. Letarouilly

these

The

the

first

S.

music

loosening

awakening

we

of

vineyard

it in the

Paris, 1840) informs

In

had

the

by

wandered

had
in the

Adriano,

being

colour

was

barbaritywhich

Palladio's

St.

also

he

gates, however,

four

to imitate

with

which

influence

1540,

The

hospital of

gay

great master's

Gallo

ancient

the

masterly

Here

upon

gaze

study

the

this

see

disinterred

of the

finest of all

in Rome.

seen

under

San

measuring here, he

was

of

be

few

Moderne,"

Palladio

and

Rotunda,

the

could

Conservatori.

to

time.

the

which

also

back

endeavoured

ancients
metal

of

and

Laocoon

Very

; the

Agnes

(in

the

this

at

Peter

Angelo

see

Vatican.

St.

dei

Fredi, and

remained

St.

Palazzo

to

Raphael

Angelo,

where

before

and
of

cupola

of Michael

work

years

Bramante

the

of

progress

PALLADIO

unique example

at

Ferof

an

building having proved

MANHOOD

success.1

AND

As

Palladio's

chapters and
mention

at

In

Palace

last and

living in
him,2
or

numbered

"

is

learning

is

di Thiene

Antenor

our

Pagello

at Vicenza

Palladio's

Especiallydoes
painterand
We

by

century
his

he

of

praise of
of

the

time

new

in Florence

J. Fergusson,

"

See

was

"

Fabie

We

find

made

Guide

temporaries
con-

by

(whether blood
and

Adrian

Eliode

Belli

add

might

the

that

performance

of

mation
interestinginforpainters of his day.

very

and

of

born

was

From

where

Another
Bacio

History
"

privileged

Sophocles.3

whom

he

styles "a

Sansovino, accompanied

in

the

at

d'Agnolo,

to

Northern
C

Italy."

the
read

we

here

first
of

he introduced

remaining

and

in all

already

as

of

of time

course

architect

of Architecture

end

Florence

at

in 1520

Countries," 1893,

I quattro libri dell' Architettura," Venezia, 1570.

Baedeker's

master's

Monza,

others."

Renaissance.

style.

our

buildings erected by him,

migrating to Venice,
the

Olympic

great merit."

Sansovino
the

The

Antony

eulogize Vasari,

architect

mentioned.

of

of the

Giorgio Trissino,

Marc

architects

the

also find mention

much

and

grace

mentioned

are

illustrious
Gian

writings we

regarding

both

to

Palladio's

inaugurated by
"

of II Re-

not

was

at this time

many

was

might

facade

was

intervened.

; the Counts

Oedipus Tyrannus

In

palaces,the

the most

Oliviera,Barbarano, and

"

death

Vicenza

age

We

that

exceedingly fine.

considered),were

of

the

his

unfortunately he

among

ornament

the theatre

churches

will

space

designs; combining

regard to

completion, for

as

ing
follow-

1578, is generallyconceded

of his

finest effort ;

its

see

far

as

Vicenza, built of stone,

at

in the

superfluous here.
his

in

at Vicenza

Theatre, also

is

treated

are

given,

among

beautiful

simplicity.

Thiene

to

that

Venice, built

be the most
and

treatise

broadly

dentore

works

illustrations

detailed

permit, a

ENVIRONMENT

etc.

this
he

ANDREA

io

decorated

the

which

pedimented form,
This

in

we

Raphael

in

the

Pandolfini

maestro,

Michael

Angelo,

Medici

copiedby

it

by

the

great

We

also

Palace.
and

example,

their

of

of

genuflexion.

also

doors

laughter of

find

we

principalcharacteristic

the

became

the

the

make

to

Palace, and

followed

Palladio

find later that

excited

told

remain, for

in

and

windows

stopped
to

was

with

are

derision

of art

form

new

Barbolini

Palazzo

passers-by,who

PALLADIO

his

it eventually

style.

On

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

to

in order

Rome

recorded

According

would

biography

Rome

turmoil, and

this must

Vicenza
which

is

the

believes
which

the

supposed
month

exists

at

the

to

have

death
of
at

to

the

been

which

architect

the

that

taken

Palladio

Museo

at

by
on

in

city

deal

in this

of space

no

in

remained

journey

in

are

to

to

November,

Rome,
1549,

III. occurred.

diary
been

the

Palladio

place

of Paul

held

There

Rome.

to

prove

to

one

if true

was

and

give a good

of expenses

Vicenza, upon
have

dead

in

great disappointment.

days occupied
to

Basilica
Palladio

is

esteem

dispose

statement,

Pope

summons

examination

An

high

would

our

of Palladio

the

of

during

in which

with

have

forthcoming

documents

this

the

found

biographers

incident

this

held

in which

esteem

arriving in'
The

is

the

Unfortunately, according to Gualdo,

III.

journey

Peter's,as

St.

upon

Barichella, however,

to

the

prove

Paul

work

opinion refuting

any

Canossa.

Gualdo.

Gualdo's

reserve

Verona,

at

story regarding Palladio's

undertake

to

Paolo

by

which

the

discredits

Magrini

in his works

which

engaged

at

Vicenza, does

in connection
work
this
not

Magrini
time, and

support his

MANHOOD

that

assertion
Palladio

is

of

of
who

Pope,

This
been

fine

with
the

prominent

could

have

Gualdo.

cast

to

Rome

in

endless

need

the

of

of

his

on

the

great

age.
have

misfortune,
in

tion
conjunc-

have

might

the

of

to

which,

genius,

assistance.

attention

this

for

work

Palladio,

successor

Angelo,

materially

design.
and
the

upon

by

the

no

stand

living

with

being
doubt

Micheli

San

architects

associated

been

having

that

year

but

Michael

of

the

probable

Palladio's

there

consequently,

summons

of

felt

attracted

would,

for

been

of

thought

Peter's

occupied

seventy-fifth

Sansovino,

most

to

of

completed

Palladio,

reason

the

field
that

St.

probability

had

church

great

altered

in

that,

every

think

to

then

architect,

of

Angelo

genius,

had

building

Michael

age,

his

have

possibly

not

possible

therefore,

is,

account

the

Angelo.

than

more

great

There

time,

ENVIRONMENT

could

Pope

Michael

to

It

the

this

at

intrusted

and

AND

the

great

Pope

that

at

statement

as

chronicled

the

as

who

time

Michael

proof,

contrary
the

out

Angelo
we

see

regarding
by

no

the
Paolo

CHAPTER

PALLADIO

best

these
in
of

Many

Architettura,"
has

book,

almost

however,

does

instances

include

Of

the

these

Desseins

de

Octave

was

The
as

in

Vicenza

Vicenza
of

volumes

volumes

Vicenza

Venice,
latter

and

volume
other

volume

carried

out.

rather

difficult

and

3,

the

buildings
churches
in

buildings

Amongst
to

contains
such
makfe

but

mass

selection

of

be

to

which
material

the

and
and

in

par

best

French).

are

divided

erected
the

at

environs
erected

were

parts

les

et

perhaps

erected

his.

complete.

buildings

of

some

illustrds,

Italian

different

works

in

most

which

designs

and

et

plates,

the

own

Batimens

the

(in

200

over

contains

4,

also

1796

lated
trans-

but

reputed

recueillis

in

which

been

designs,

perhaps

dell'

Palladio's

Les

"

libri

has

list,

published,

were

his

only

are

entitled

contain

volume

we

so,

book

and

complete

are

published

follows

all

"

this

1570,

language.

Palladio,

of

four

in

which

volumes

editions

are

Although

I quattro

"

editions

Scamozzi

taught

partially

only

in

Venice

contain

designs

Andre"

he

designed.

or

found

contain

Bertotti

Many

be

European
not

four

he

out,

countless

authors

other

by

which

in

every

which

master's

our

designs.

to

are

through

into

his

having

of

particulars

lessons

carried

published

passed

the

great

not

these

ARCHITECT

AN

buildings

were

fortunate

are

the

in

of

many

the

be,

may

found

AS

interesting

HOWEVER
life

III

of

Italy.

have
it has

illustrations

not

at

This
been

become
which

PALLADIO
shall be

AS

the

to

idea

been

of
In

(a)

at

of

design,especially

this work.

It is

disposal, such

our

enable

the

reader

buildings themselves,

divide

them

Public

buildings and

to

of

13

hoped,

form

to

tion
selec-

good

methods.

the

regard to

methods

limit

will

as

master's

our

it best

the

made

ARCHITECT

limitation

however, that within

has

his

representativeof

having regard

AN

into

have

we

thought

bridges.

houses.

(b) Town

houses.

(c) Country

(d) Churches.
this

By

method

less

more

or

solve

similar

consecutive

reference

and
be

must

view

in

of

each

be

can

manner,

problems

methods

various

better

obtained, in

Palladio's
of

type

attempts

proportions adopted by

principally made

Of

building.

to

to

the

master,

our

notes

our

the

on

buildingsthemselves.
A

he

strikingpoint
of the

classical

many

another, he

Like
that

genius

many

slavishlybound

not

was

about

by

be above

can

his

columns
was

lies in the

fact that

rules

the

of them
own

and

to

portions
pro-

their entablatures.

exemplar

an

as

rules,which

are

of

made

the

saying

for smaller

men.

In

his

various
no

parts of

instructions
a

as

In
be

books, although Palladio

his

has

no

the

their

design

and

detail

proportions,he
composition

to

has

of

the
left

tures
struc-

orders

he

particular

full of

was

method

as

resource,

seems

to

have

will
been

own.

been

size
two

to

of the

use

peculiarlyhis
It

as

building and

in

whole.

and

seen,

refers

and

held

that

he

dignity in

was

his

storeys of his facadeswithin

speciallyin

favour

taining
of ob-

compositions by including
one

order.

This

has

been

PALLADIO

ANDREA

14
said

to

with

the

but

have

influenced

precepts of Vignola which

the

fact

methods

will be

is,that, as

equally, while

he

blocks

with

his

{piano nobile)by

first floor

Palladio

flat

in lieu of

According
Criccoli

to

(see

Vicenza,

attic

Sansovino

is to

be

expressing

and

another

for

fame

observed

(1479- 1570) was

that
other

by

cornice.

the

same

Venice

to

(or

upper

used

great crowning

his

marking
his

storey, seldom

Palladio's

brought

of

authorities, his Trissini

many

77),

p.

fond

both

employed

order, and

an

contrast

in France

of masonry,

pilasters. It

the

employed
masters,

when

rusticated

with

attic)storey

Palladio

also

was

in

followed

were

seen,

ground storey

Italian

architecture

English

Palace

at

family

at

the

at

completing

his

time

illustrious

career.

Our
the

master's

della

Conventa

entrance

the

to

Corinthian
"

Mine

stone
a

first work

church

hath

or

how

piece,showing
to

serves

spite of
to

the

his

materials

styleof
As

the

His
severe

those
remarked

who

must

into

in
four

is

the

entire

one

than

stuff
but

quaintly put,

already indicated, viz.,that

with

which

put

the

of ancient

rejectall

first formed

art

Palladio

says

statelyof

burning

rather

want

stylein general has

use

immense

Wotton

pillarsappear

greatest designs, the

beholder, which

between

have

we

The

and
join so closely,

the

we

of

more

been

their

greatest fancy." This

mean

high plane.

before

cut

in truth

show, what
the

execute

then

Henry

having

exactly,that

so

satisfyour

bricks

atrium

columns

any

been

elsewhere.

an

Sir

the sides afterwards

more,

jointsconcentre
to

of

which

beheld

; for the

mold, and

circular

of

never

marble

or

quarters

is formed

have

to

appears

described

Carita,

columns,

eye

Venice

at

it
in

forced

was

design only impresses

composition

on

been

as

forms

defined
and

the

very
mean

licentious

rule whatever.

elsewhere, and

as

mentioned

by

Milizia

PALLADIO

Palladio

desirous

always

are

this the

of

means

generally,it

of

remarks

tion
propor-

truly that

very

superiorityfor

any

Palladio's

and

to

for

work,

the

and

men

it

vulgar

consider

it.

plans

Palladio's

of

that

taken

be

may

character

honouring great

doing

the

regard to

In

the

for

15

buildings attributed

fabric to possess

instantly considered

be

the

Milizia

considerably.

so

ARCHITECT

of

by him,

sufficient for

was

to

be

cannot

vary
it

AN

authorities,many

other

and

AS

buildings, speaking

they

suitable

were

the

to

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

apartments,
covered

fact that
to

the age

to

the

plans

and

in which

they

each

other

often

are

farm

an

by

either

from

and

of
in

apartments
side

their

in relation

the climate

exceedingly happy

well

not

are

to

Italy.

regard

effective,such

of

the vestibules

saloons.
his

In

the

of his

proportion

being placed symmetrically on

and

principal
them

detract

cannot

erected, and

were

houses

considered

when

convenience

dispositionand

and

the
with

of Palladio's

present requirements

our

stateliness

The

communication

outside

in

or

under

being

colonnades.

The
suited

offices either

household

other

country

offices in the
of

same

of

range

raising the principalfloor

ground

an

was

dignity and
Some

breadth

critics have

and

displaywhich

but

here

again we
they

eager

to

were

found

are

of

displaytheir

considerable

having

the

one

fault with

His

the

mansion,

height above
Palladio

composition, and

taining
ob-

grouping.
in

some

the ultra

clients

power

and

magnificence

of Palladio's

for whom

remember

built.

buildingswith

all in

observed

must

of

custom

arrangement, for it gave

effective

opportunity of combining

purpose

Italian

the

houses

were

and

facades;

with

Venetian

positionby

what
men,
noble-

the

erec-

16

ANDREA

grandiose buildings which

tion of

libraries,and

colonnades.

availed
rightly,

himself

and

columnar

addition

facade

the

the

the

at

sixteen

and

double

that

had

the

between

height

half, while

in

the

facade

same

building,
one-half

pointed
of

S.

and

in

his

In

the

is

as

Valmarana

the

own

Basilica

orders

Palazzo

This

employed by

temples.

two

out

Giorgio

plinth level.

the

ten

to

it is

as

half.

is to twenty

and

Professor

rightlyattributes
Palladio's
buildings to

the

the

been

been

the

master

our

in

of

frieze.

deep

to,

scale

same

Capitanio

St.

at

as

being only

the

the

in

referred

height

of

order

del

placed

It has

porticoesof

side

Cockerell

magnificence of

great part of the

the

employment

of

principle.
Our

master

also had

the

central

part of the

the

houses

which

have

whole

portioned
pro-

associated

column,

different

rise from

Palazzo

in

difference

except

the

to

one.

were

occasionallyemployed

"order"

larger

orders

both

in

work

the

the

essentially

was

they were

are

of

of

use

entablatures

already

orders

the

case

dispositionof

some

satisfyingsuch
the

to

which

subordinate

of

every

Romans

methods

two

smaller

Maggiore

his

windows

comprising

two-thirds
in

with

which

the

used

one

the

this

of

architecture

disproportionate

to

frequently

ten

column

Library, in

Mark's

made

already

predecessor,Sansovino,

entablature

that

doubt, yet

eagerly,no

opportunity

fenestral, and

the

his

whereas

or

of the

Palladio's

not

to

and

Palladio

been

has

orders.

classical

In

in his

provided

requirements.

Reference

an

Palladio

vestibules, grand staircases, galleries,

columned

spacious

noble

PALLADIO

(very few)

of

great preferencefor

principalfacade,

have

built

those

which

always placed a pediment

in

pediment

says,

country, and

the

I have
where

and

made

the chief

in

"In

to

all

also

in

towns,

entrance

is,

r. n

1M"

2.

THE

BASILICA

(PALAZZO
PLAN.

BELLA

RAGIONE),

VICENZA.

AS

PALLADIO
it makes

because

the

of

grandeur

facade

put the

the

of

arms

to

the
the

much

to

building.

This

gives

others, as

the

over

higher ; besides, it is

be made

reason

the

i7

very

great advantage

ARCHITECT

principalentrance

contributes

conspicuous, and
and

AN

placedin the middle of the pediment."

The
height of these pediments in our
the horizontal
The

having
been

have

The

plinths.

no

with

decorated

formed

frequently

which

unsuitable

were

generally
designs

of the

length of

pedestals,in

placed on

brick

of
for

not

columns

and

raised,

or

book.

Palladio's

in

to

the

so,

pedestals never

panels,sunk

although this feature is so treated

Fluting is generallyomitted from the
by Palladio, and this was
probably due
were

to

proper

are

height, sometimes

additional

pedestals often
to

for that

master's

one-sixth

sometimes

were

give

to

to

entrance

cornice.

columns

order

seem

one-fourth

from

usuallyvary

the

more

they

more

magnificence

it must

much

there, and

owner

house

the fact

designed
that they

stucco,

materials

as

flutingin long lengths.

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

walling and
often

excellent

character

his

to

Florence, but
In

appears

to

in

the

as

the

the

use

set-off

of

arcades.

of

plain and

cated
rusti-

rustication

His

to

his columns

is

his arcades

and

upper

tures.
their entabla-

and

of entrance

preferred the larger order

small

the floor of the

judicious use

design and scale,and gives considerable

buildings,not in an excessive way as at

design of

have

storeys, with

by

embracing

pilastersplaced behind

gallery.
D

In

the

halls he

arcades

them

to

two

carry

semicircular

arches

usually rest

adopted

arrangement

the
(cf.

he divided

which

small

central

piers

In

design

seems

to

of

his

between
with

and

which

openings

he

he

in

also

beyond

entablature

at the

the

the

to

but

face of

these

and

sometimes

pulvinated,

friezes

Interior
our

master,

regard to his
regulation forms

obliged
or

the

for

Lombard
Roman

broken

never

in.

"

rococo

pedimented

these

On

Michael

the

semicircular

his

orders

Angelo.
window

Roman

these

find

we

effects

happy
the wall

be

to

tained,
ob-

sometimes

are

and

he

his

to

seems

owing

breaking

was

tures
entabla-

the

cornices

of

no

heathen

doubt

each

over

this

to

his endeavour
The

other.
lected
neg-

of

keep

type.

consoles

of funds.

want

he

to

being

somewhat

been
to

latter
the

have

temples,

reasons

type of church, and

to

have

; the

speciallycareful

designs,instead

church

ecclesiastical

orders

and

generallyplain,the

were

decoration

In
the

were

carefullycentred

ornaments

by

by pediments, alternately

or

profileof mouldings

other

The

aim.

projections.

architraves

and

his

was

ness
Few-

after.

Basilica,Vicenza, by projectingthe columns

main

around
In

been

have

lights.

generally unbroken,
as

the

plicity
niches, sim-

general sought

Sansovino

employed

into three
the

parts

occasionallyplaced recliningsculpturedfigures,

Palladio

In

three

palace.
and

size

in

one

was

to

seems

doors, windows

indulged

probably copied from

divided

favourite

only covering

Diocletian's

largeness in

never

arch

which

openings were
generallycrowned
angular and circular,but these
feature

piersin

two

an

at

been

have

number

trabeated

Vicenza), however,

at

colonnades

some

baths.

ancient

combination

the

in

Basilica

columns,

aperture,

copied from

the

from

the interval
or

piers in conjunction with

on

arrangement

by

PALLADIO

ANDREA

18

nave,

returning to
was
probably
the
was

Basilican

adapt

to

being

con-

DC

PALLADIO

AS

it,and

of
a

supporting
of these

Types

this

In

his chief

Palladio

methods

the

He

has

than

have

had

been

of

pediments.

of

boldness

the

all modern

resume

late Mr.

architects,

taste, the most

his

on

and

styleand

better

given by

best

sketch

to

master's

our

that

the

made

correct

contemporaries.

genius,

opportunitiesof displayingtheir

others

talents

more

in

grand

works, but he has the peculiarglory of having

extensive

all the

and

symmetry

half

Perhaps

that

says,

more

features

having produced

majesty

parts of architecture

and

edifices

which

in

are

architecture, by effectingthat

unity of design
grandeur

which

than

are

greatness of

of size

ends
and

manner

of

ing
producfully
unskil-

large masses

or

dantly
abun-

they

means

of

beauty,

fulfil all the

powerful

more

immensity

that

combined,

so

and

simplicity and

petty defects, and

for

compensate
of

made

with

The

over.

illustrations.

greatest influence

had

have

mastered

in the

dependen
in-

pedestals

on

pediment

marked

composition.

been

to

seems

favourable
and

of

not

ideas, and
Some

roofs

treated

arches, he adopted

plinth or

with

endeavour

an

Papworth.

Wyatt

on

be

to

tiers of

principalcharacteristics

has

of these

of

placed

shown

are

i9

aisle,had

entablature

an

chapter

of the

few

instead

their inclined

aisles have

ARCHITECT

side

of columns

single order

and

the

than

siderablyhigher

AN

introduced.
These
art, but
he has
to

all

he

by

formed

dictated

their

to

have

is

during
few

probably such

the

result

of

an

volume,

by propriety.

His

of

Roman

as

the

examine

ancients

air

of

speak

selves
them-

with

Dr.

peculiar style,

grandeur

proportion
villas

agree

his

detail,

is suited

modifications

shall well

We

observations, that if we
have

his studies

principle,practice and

with

adopted.

large buildings
be

him

style that

nations, and

Aldrich's

to

before

attention

might
his

had

and

that

seems

ornament,

themselves

the

ANDREA

20

of

retreats

the

on

say

human

and

that
of
It

the

their

relation

the
of

design

column

are

the

parts

proportion
and

effect

attic

of

over,
to

excellent.

of
well

analogy

resorted

perhaps

we

Palladio's

between

by

to

not

may

edifices

is

writers

unfitly

similar

to

dressed.

our

proportion

to

the

window

entablature

of

pleases

master

basement
of

if

(much

general
that

hid

not

allowable,

all, in

various

but
fabrics

dignity

personal

The

the

be

general

is, after

veiled

material

architecture)

that

and

nobility,

PALLADIO

to

and

order
wall
the

his

buildings

most.

which

space,
various

it
and

parts

ports
supthe
of

IV

CHAPTER

BUILDINGS

PUBLIC

and

public

deals

Palladio
his

third

manner

the

and

tion
considera-

section.

public

of

aspect

the

divides

the

pose
proerected

were

however

separate

2.

Public

3.

Basilicas,

4.

Theatres.

5.

Palaestra.
the

this

and

subject

architecture

in

the

in

following

refers

everybody,
the
with
abilities

have

princes

in

of

fairest
excellent

their

consist

with

as

for

of

the

most

souls,

use

ample
and

opportunity
and

he

surprising

to

preface

desired

applied

to

public

to

larger dimensions,
curious

more

and

ancients
His

lofty aspect

they

serving

the

of

Vitruvius.

architecture,

to

as

greatness

from

the

beautify'd

ones

works

the

to

because

are

the

Triumph.

shows

regard

they

Agora).

largely

book

"wherein,

private

world

he

Bridges.

or

of

illustrates

in

that

than

Arches

main,

third

edifices,

(Fora

places

and

and

Highways

Streets,

inculcate

own

with

book,

i.

quotes

of

later

which

buildings

we

size

In

to

to

public, yet

as

only, leaving

purpose

churches

of

of

chapter

of

account

on

may,

considered

be

this

in

treat

palaces

town

importance,

to

for

Palladio's

of

SOME

and
field

ornaments

conveniency
to

architects
demonstrate
inventions."

show
are

the
nished
furtheir

then

He
has
"

PALLADIO

ANDREA

22

refers

endured

the

and

same,

lovers

fatigueand

"

drawing

the

that

hopes

the

in

the

to

of

ancient

the

out

antiquity may

studious

of

time

good examples

from

and

entire

by seeing

on

very

little

piece of

with

edifices
than

exposition of

admirable

is learnt

knowledge-through-the-eye

all their

from

in

of them

and

This

etc.

is known

process,

little

parts described

words,"

what

much

receive

originals,
by measuring

or

paper,

pleasure from

reap

more

he
and

examples,

architecture

benefit; especially
seeing that much

"

long watching

to

forms

us

is worth

the

as

quoting

here.
the

To

such

In

not

refer,but

the
Roman

highways.

regard

to

he

Bridges,

of

their construction

to

Aurelian

and

that

and

durable,"

our

own

time

other

would

well-

should

they

recipe in

roads,

ancient

some

says

and

be

which

hardly

nicipal
mu-

appear

believe.

Bridges.

Wooden

refers

He

"which

imagined

commentaries."

bridge

reader

over

He
the

is referred

reconstruction

The

the

described

Rhine, and

Bridge

He

"

bridges,and

wooden

"

refers

Appian,

Flaminian,

institutions
to

explains

also

"convenient, beautiful

designed by himself,

highways

He

illustrations.
as

known

and

does

Palladio

gives

streets

bridge

from

on

made

to

by

fourth

book

of

the

fact that

he

shows

to

in

youth

my

also

says

he

Caesar's

when
utilized
without

ancient

some

Caesar

in the

Bacchiglione
to

refers

then

his

taries."
Commen-

"

the

design
"

first read
this

the

over

these

design for

Vicenza."

description,and

to

The

Palladio's

it.

the

Cismone.

"

This

was

erected

by

PUBLIC

Palladio, and
bed

the

is

of the

point.

This

stream,

and

BUILDINGS
of

example

an

river, which

is

rendered

was

timber

the

under

the

necessityof renewing

every

year.

used

in

forty feet

in

construction

buildings

and

the

The

other

Bridge

two

Bassano

at

from

Alps separating Italy

point

elaborate

more

swift

was

five spans

of about

eight in

each

being

such

at

wide.

row,

posts
made

This

the

over

to

contain

the

two

the

in

considered

the abutments

which
at

inches

the

"

divided

piles,
these

square,
26

was

this
into

of

rows

the
signed
de-

at

feet

while

crossways,

simple roof,

way.

rebuilt

wood,

is

one

considered

so-called

Casarotti.

by

similar

by

to

that

Barichella

American

absolutelymodern

bridges,

invention, and

days.

Palladio
he

of

foot

bridge

support

in

other

in these

Bridges.

general, in

he

18

18 13, and

of the
an

type.

stream

of

covered

ciple,
prin-

1748, repaired by Ferracino, again

in

elements

largelyused

in

into

the

are

The

means

the

columns

designs

more

are

Stone

apart that

French

Cismone

and

shown

Palladio

Here

supported joistslaid

bridge

which
so

long

destroyed

was

are

feet

Doric

as

the

destroyed by
There

30

posts

the

This

each, by

then

arched

at

bridge.

feet

thirty and

are

an

place

35

truss

of the above

of

feet wide.

180

distance

These

circular
which

and

was

queen-post

Germany.

wooden

Angarano

methods

"

by it,which

between

spans,

varieties

are

of

extension

an

of the

previouslyexisting bridge

other
is

down

this

at

swiftness

Giacomo

is that

Three

of which

by Palladio, one

floated

for

the

in

supports

no

feet wide

by

Conte

posts, whereby

length.

hundred

damaged

modern

having

one

necessary

the force of the

The

23

mentions

discourses
four

of

stone

bridges

special points,viz.,

banks, the piers in the river,the arches

and

the

from

and

men

the

leaves
the

middle
is

current

in which

that

the

from

the

to

Elian

also

the

as

by Hadrian,

to

to

the

Bridges

bridge

angular, in
and

the

order

that

prevent floating

three

central

designed

that

part of it

capi;"
and

the

remains

were

(alsoLepidan), the Janiculan

others.

Reference
in

Danube
the

is

feet in

stroyed
Transylvania, de-

incursions

given

the

to

of

the

barians.
bar-

bridge built
This, which

Caesar.

type, the

span

also

is

as

two

at

he

arches

against 25

feet

spans.

Palladio.

by

Vicenza

There

at

Elius

quattro

Bartholomew),

semicircular
20

Tiber

Emperor

Ponto

"

or

still

were

the

over

the

existed.

prevent

being

those

of St.

many

five-arched

banks

Bacchiglione at
mentions

side

by

probably by Augustus

illustrates,is

given

"spurs," i.e.,the

bridges which

built

Sublician

over

the

to

water,

notably

Special prominence

nearest

or

ancient

of which

bridge

the

Ariminum,

added

be

might

piers,known

made

the

many

Sisto) and

Ponte
to

be

to

Fabrician

of others

made

starlings

bridge,

bridge,all

'

it

the

of

"

time

Senators

(now

"

portion

bridge (or bridge

Cestian

obstruction, where

rapid,and

lower

break

the

at

; the

Adrianus

it

preferredbecause

be

to

naturally be.

are

or

us."

free from

river

duced
pro-

lodging against them.

existence

Rome,

stream

refers

Palladio

the

the

divide

may

matter

in

of

engineers as

faces

they

would

front

modern

is also

of the

has

nature

an

things which, consisting

the feet of
any weight, as

convince

may

naturally most

boats

The

animals

that

see

bear

to

are

arrangement

an

we

all those

part,

one

all other

Such

because

number

this

than

more

well

"as

of

be

piers should

the

considers

He

pavement.

number,

even

of

PALLADIO

ANDREA

24

was
was

added
ancient.

"

to

The

by Palladio,
It is

the

bridge over

as

he

three-arched

PUBLIC
; the

type
30

side arches

BUILDINGS
feet in span, and

being 22^

feet.

The

The

Rialto

Bridge

does

mention
specifically

Palladio

design was

bridge is

not

be

to

25

feet wide.

24

Venice.

at

built, but

Curiously enough
the cityin which
this
"

it is evident

it

bridge. It was
unfortunatelynot
present bridgebeing erected in 1 588-1 591 from
da

that
so

good

sense

made

often

It is to be observed

Ponte.

which

he

virtue

out

refers to the fact that

spot where

very
and

the

bridge

Thus

Palladio

adequate
The

the
as

These

produced

bridge over

to

character

at

Public
division
and

the Retrone

to

be

of his book

places of

built

Palace, the
and

Basilica

the

which

serve
presiderably
con-

designed
it ; that

upon

two

the sides

on

shops.
in

probably gained

intention

of

of Venice

resembles

very
I

same,

to

be lined with

to

providing

for their

is called

the

an

outlay.

Palladio

by

example
others

four

to

he

the

just at

well

as

streets

at Vicenza

refers

design

city as

the other

were

his

this

the

over

of the

same

Padua.

Places

open

three

the merchants

ancient

said

make

importance by

return

the

scheme

In

he says,

of

fine,and

designs of

together to negotiate

revenues

streets

bridge, and
Bacchiglione. He also

an

to

out, the

Palladio, with

be built

to

come

dignity of

largeand

less."

dignity and

and

broad,

in the middle
somewhat

merchants

increase

so

bridge was

the

for

always possessed,

necessity.

affairs,wherefore

grandeur
to

the

the

of their

treat

the

"

of

carried

how

have

to

seems

intended

was

the Rialto

Antonio

the central

around

(Fora

or

Palladio
a

refers

city,and

them

"

such

Exchequer, Prisons,
(or Courts

of

Agora).
to

of the
as

the

squares,

edifices which

the

Senate

Justice).

the

In

"

Prince's
and

or

second
markets

ought
Ruler's

Council-house

26

ANDREA
He

gives

height

of

useful

some

rules

to

open

; and

neglected nowadays

the

to

as

relation

in

buildings

somewhat

PALLADIO

necessity of porticoesto protect people

He
the

also

refers

Romans

and

the

ancient

note

with

the

on

whereas

the

ground,

those

had

inside

The

Basilica

These

arcades

Palladio's

this

middle

to

St.

the

In
over

floor

five

arches, as
This

of

between

the
a.d.

the

ancient

had

day

whole
1444

style,but

the

the

of

external

as

added

important

researches

From

of two

added

later

importance

in

floors,the upper

chapel,dedicated

justicehall,while

In
one

shortlyafterwards

hall,which

he

the Vicentine
was

into
a

few

above

built

council

damaged by fire,
Then

necessary.

transformed

1477.

Gothic

prison.

centuries

being

of the

previous historyof

of considerable

forming

Vicenza.

at

most

place.

rebuildingbecame
and

sides

probably

meeting place for

hall, two
or

other

Strazza

(covered arcades) were

Gothic

that while

portion being

one

three

consisted

used

was

restoration

read

two

Lorenzo

1222

of 400.
and

into

the

out

been

It then

Vicenzo, and

lower

level

arches, in

Ragione)

glance at

have

to

are

be

not

ages.

divided

one

Hall,

may

made, it appears
the

tions
men-

were

over

of his

della

surrounding

works, and

building

were

prisons,and

(Palazzo

Town

Consiglio, or

justice,he

basilicas

time

porticoes,those

others.

of

ancient

his

and

of

and

courts

the

of

all.

at

none

of

or

of

placed shops

were

or

of

basilicas

elements.

public exercise,
justice,
giving designs

after Vitruvius

fact that

basilicas

"

of these

the

to

Greeks, the Fora

places

or

courts

or

the

which

ones

Palaestra

adverts
the

from

the

of

Agora

basilicas

for restorations
In

the

and

the

to

also

subject

spaces,

he

and

proportion

one

years
the

this work

we

grand hall,
loggie

two

other

in

proved

to

the
be

s,

PUBLIC

Sansovino
in

consulted

varied

style,that
excited

controversy

submitted
the

Of

Spaventa,
the

Giulio

latter's

is the
and

in 1550

remarkable

design

never

attain.
is

building

in

be

It

this

gives

these

Plates
It

2, 3, 4, 5,

is curious

in

is

by

no

each

one

the

ancient
most

Ende

that

has

the

to

no

do

not

commenced

was

in stone

weathered

this
II

"

Arnaldi.

in

beauty,

and

possess

about

Palladio

will

important

Palazzo

della

in

"

Des

Vicence.

Vicence, 1761

he

alone
it

says

does

"

"

I have
are

my

Fabricks, and

to be

buildings

is in his Third
is another

There

given
own

reckoned
erected

little about

very

say

doubt, but that this edifice

beautiful

that

result

building

Magrini,

modest.

porticoes around

make

by

(see

6, 7).

means

Vicenza, of which
the

Conte

himself, but what

Basilica
and

du

the

designs

Ragione in Vicenza," Vicenza, Burato, 1875; also

Basiliques anciennes, et en particulierde celle de
Dissertation

of

constructed

was

information
found

it

stone

designs

stucco

Much
to

Palladio, with

1614.

and

manner

Palladio's

were

public opinion.

to

executed, and

as

Piovene, and

which

these

was

completed

from

brought

the

by

lost, and

chosen,

were

Giulio

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

design

against seventeen.
This

only

and

Romano

and

vote

of

Vicenza.

and

Council, and

competition,

the

to

of

submitted

time

was

1498, both

in 1539

were

came
be-

now

Riccio

republic

the

of
a

in, three

sent

the

of

such

them

by

many

the

1538, Serlio

weary

by

in

Spaventa
of

in

It

way.

architects,and

Finally designs

1542.

in

of

and

service

27

giving

aid

architects,by desire

various

were

the

1496,

the

in

was

Romano

so

it in

upon

being

them

seek

to

necessary

engaged

foundations

the

untrustworthy ;

BUILDINGS

the

be

among
since

Book,

of them

in

draughts, because

invention
may

the

; and

this

compared
the
the

to

noblest
time

of

the
and
the

28
ancients
of

as

feet

togetherwith

storey supports

plan

the

to

we

at

these

surround,
storey into

had
data.

wall

returned

the

of

each
and

facade
had

iations

height of

any

less than

be

wall

beneath

this
each

at

the

The

their

Doric

to

on

entablature

thus

giving

with

arches

the

on

of the

occupied

those

of the

(see Plate

facade

columns,

difficult

proportion

of

bay

master.

It is

perhaps
that

had

in the

the

was

statue

and

Furthermore,
to

because
and

existing

seven

hall itself.

depth

4).

the

of

be

beauty

thus

and

ture
entabla-

the arcade

an

had

to

trade
balus-

the

crowns

the

ably
consider-

the

unusual

cleverly handled

design of

round

inter-column-

of the

hall proper,
some

continued

been

centre

of

principalcolumns

these

backing

columns,

column,

cornices

pair

over

by

(seePlates

one

upper

in

Palladio

that

order, the

half

each

three

preventingthe squat proportionwhich

length

those

of the order

and

see

thickness, and

correspond

arches, forming the

the

they

ground

influenced

an

the

to

as

break.

to

and

storey by

had

resulted

to

the

of

length

controlled

formed

this

without

hall which

interior

it is easy

the Ionic

expression and
have

is determined

bays

(height and width),which

considerable
to

arcade

Gothic

the

the

By referringto

of the
the

upper

measurements

being

back

vertical
would

these

; the

in

design

ground storey
6);

piers of

ground

compartments

marked

He

and

to

on

feet.

70

circular
semi-

The

of arches

width

departed from,

decide

to

the

these

be

not

the

It has

end.

means

piers dividing

seven

With

could

that
of the

that

by

about

being

once

by

one

upper

roof

see

width.

an

each

at

is

arranged

are

(Plate 2).

lead, hipped

of

ornament

care."

utmost

arcades

the

and

extremely hard,

stone,

the

feet wide

68

long by
roof

storey

which

around

largeness

is all hewn

which

bound
hall

its

of

account

on

its matter,

The
171

well

as

join'dand

PALLADIO

ANDREA

by

and
our

between

the

originalityof

this

space

PUBLIC
found.

buildingare
it will be

the

between
line

base

of

these

of

and

has

produced

his

name.

He

has

shown

in

piers,these

main

which

filled

in

the

In

this

and

underside

of

their

has

this

did

by

with

four

showing

two

inches

in

from

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circular

spandrils are

tablatures
en-

his skill

space

from

cornice

the

is known

day

feet

tained
con-

particularly

shown

(only

It is

square

by rigid conditions,

forced

lines

to

and

supporting

vertical

lines.

pairs, about

arch.

semicircular

Thus,

motif

is

Palladio

that

Plates

in

elevation) placed

square

the

bounding

(Plate3),

as

and

columns

treatment

columns,

columns

horizontal

illustration

approximating

space

main

these

as

in his

29

the

By referringto

that

seen

BUILDINGS

the

springs
openings.

Palladio

produce

masterpiece.
It has

been

pointed

before

motif
left to

in
master

our

hand.
he

secondary

columns

an

columns

of

angles

of the
as

give

facade
is

an

which
in

seen

important

an

its

to

order

columns

detailed
to

about

the

or

is very

shows

the
to

as

inches

which

shows

and

of

of

the

not

in

doubling
to

that
be

and

are

brought

The

Basilica

out

few
of

words

place.

consistingof

diameter,

the
same

Parthenon

facade.

Palladio

on

It is the

columns

the

may

the

strength

pleasing.

the

of

by placing

bay

storey is Doric,
8

The

rather

of

angles

proportion
feet

of

appearance

creation

lower

also

was

by placing the coupled

piers and by doubling the

of width

the

it

restrictions

any

angles (Plate 2) ;

diminution

but

same

all time.

building

the

buildings, where
together than in the rest

is such

The

to

this

this

Greek

nearer

as

the

columns

endeavour
other

this

decreased
nearer

at

face. This
the

has

for

name

without

was

used

Linotta, Rome,

angular three-quarter column

extra

each

he

of

had

Peruzzi

it his

give

angles

Here

width, and

main

Palazzo

to

the

of

treatment
master

the

that

out

attached

half
to

ANDREA

30
wall

about

diameters

in

inches

free-standingcolumns

base,

the

doubt

no

have

but they are

larger,

with

the

cornice, in

intention
in

this

springs the

is ornamented

with

the

placed on

continuous

the

those

nor

columns

8f diameters

it is
is

The

column.
order

are

The
as

the

inch

one

to

the

lower

height.

lower

is

pedestal). The

two

of

pedestal.
This
building
peculiarcharm
the beautiful

Ionic

it

must

now

(Plate 7).
storey

order, both
quarter of

being

in

height.

here

followed
that

feet 3

Bertotti
his

own

the

when

about

to

the

and

are

type and

the

Ionic

the

of

ture
entabla-

height

8 diameters

have

being

height of

the

the

Ionic

rank
possesses

as

the

crowns

order, without

Palladio's
is also

the stone.

to

its
this

height.
plinths
that

on

column

the arched

(including the
which

in

similar

of

of

circular

of

one-eighth

one

weathering of

of

free-standingcolumns

their cornice

balustrade

one-fifth

latter

the

of

upper

Ionic

says,

one-fifth

proportionof

its width

height of

ones,

storey and
The

than

of the Grecian

capitalsare

The

"

height

in diameter

14^ inches

that

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

The

more

smaller

columns

each

one-sixth.

only

not

Vitruvius, who

quarter less in diameter

case

to

of

placed over

are

these

has

ence
inconveni-

small

pedestal about

refers to the fact that Palladio

rules

arch.

same

circular

of details

small

largercolumns,

diameter, and

in

These

is

smaller
the

preventing

sheet

and

large

The

one-eighth

in the

are

entablature

height.

out.

semicircular

same

height of

inches

the

storey have

of

or

columns

provided with

about

height

columns, of the type shown

From

in

this

to

peoplepassing either

to

The

quarter of the column

proportionas

the

thick.

height (less 2 inches),and

slightlyover
Doric

feet

PALLADIO

depth

in

opening
of

facade

the

has

includingthe

masterpiece, the

largelyenhanced

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9.

ARCO

UI

TRIONFO,

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PUBLIC
Arco

The

situated

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Monte

authentic

work

Teatro

The

and
not

was

who

some

the

in any
have

only

contrary, he well

knew

and

heights to
Palladio's

his

well

lines.
the

He

studies

founded

the

of

his

in which

might
as

turned.

him
made

(and

given,

this

tecture
archi-

building

suggested by
the

superficially.On
the

the

principles

masters

to

the
as

proportions,forms

these

on

by

that

of

on

must

classical

Vitruvius, and

author, indicating

Vicenza, which

of

Palladio
on

instructive

appears

to have

was

been

constructinga building
plays

of classic

Palladio, whom

the

Vicenza,

theatre

ruins, and

particularbuildings.

Academy

to

was

at

special study

of which

high authority

Theatre

designing

decided
spirits),

it

the classic

among

laid down

interestingand
be

eood

wisely changing lengths

Berga

for

planned

moving

is

designs ; modifying,

own

Rome

therefore, the

of the

In

precepts of its

parts, and

the

of

directions

in 1555

The

of classical

accommodate

to

and

in

had

the ancients

When,

one

also

it differs

requirements."

equipped

elaborate

how

his work

how

the

also his excavations

have

This

by precedent, as

"

of

master's

our

that

"

Vitruvius.

by Bertotti, according to need,

distribution

in

There

in his book.

Vicenza.

of

bound

special circumstances
and

show

to

9),

of the

death.

it is

laid down

at

studied

of classic architecture

stated

whether

profound knowledge

way

and

general proportions (Plate 9).

works

the

to

as

Olimpico

of

erected

was

after Palladio's

formulas

of Palladio's

example

(Plates

Vicenza,

near

endeavours

the

will show

"illustration

he

Berico,

Bertotti

considerablyfrom

arch

steps leading to the church

information

not.

or

31

This

"

1595, i.e.,fifteen years

the year
no

Trionfo.

di

the foot of the

at

Madonna

is

BUILDINGS

subject,

that

authors

they regarded
they naturally

Palladio
in his

"

is known

Roman

get information
of the

the end
the

over

how

from

the

of this

It is

which

architect

for the

wood

had

Serlio

the

of

Palazzo

works

Serlio's

of

town

amount

of

dissatisfaction

decided

by

the

The

work

he died

his

son

planned by
till

Academy
not

he

the

on

for his work

does

begun

on

not

was

Silla
his

told

are

and

father.

1584, and

which

it

illustrate

the

and
the

also two

of the

that

the

was

named
It

Roman

is

leave

its

see

work

the

In

theatre.

that

books, but

which

for

gratitude
ated
nomin-

we

and

pleted
entirelycom-

curious

peculiarand

length

conceived

not

was

after

the

Palladio

Bertotti

has

illustrate

the

n,

12). The

plan

that

Palladio

kept

theatre,as described
to

the

completion,

year.

doubt

on

1580, in Palladio's

(Plates 10,
no

notes

at

was

"Olympic,"

in his
of

it

permanent

the

yard
court-

considerable

Olympic Academy

theatre

it.

his

in

scene

architect). These

same

The

illustrations

view, but that owing

to

The

1562.

(father of

given

of the

the theatre

general distribution
form

the

build

destined

designed

in the

in

23rd May,

published complete drawings,

plan, and

in

trouble, and
to

founded

had

Scamozzi

superintend

to

there

erected

been

built

was

have

to

19th of August

we

that

theatrical

mentioned

as

academicians

was

but

presence,

constructed

seem

to

ment
commence-

mentions

itself

Scamozzi,

erections

able

Academy, especiallyone

Basilica

Porto,

the

the

visited
been

master

Vicenza, which

Vincenzo

At

our

by Jean Dominique

better-known

temporary

that

the

also

had

building had

for the

in

he

how

he

Bertotti

modern

structures

erected

was

and

in

also states

the stage, but

left,particularly

still

record

on

1556)

Theatre.

Berga

of the century

temporary

many

in

eighteenth century

site.

Barbero

Palladio

and

deal

good

Venice

Barbero

Daniel

helped Signor

Vitruvius."

on

(published in
remains

was

have

to

Commentaries

this work

at

PALLADIO

ANDREA

32

by Vitruvius,

restricted

shape

in
of

PUBLIC

BUILDINGS

had

be made

the

site,variations

the

auditorium,
semi-elliptical

semicircular

pains

some

our

convincing, and

The

out.

long by
shown

in the

proper,

as

depart from

detailed

the

notice

the

behind

his

at

the

novelty

three

and

site 123 feet

the

scene,

space

all that

and

the

stage

12).

The

extra

the

to

rooms

permanent

carried

include

auditorium
11

and

disposal

were

that

not

plates(Nos.

including the

accommodation,

tion
propor-

proportions

which

seen

does

at

here.

changes
be

the

been

the

to

(Plate 10) occupies a

only

in the

has

certainly ingenious

are

disposal

plan, but

being

place of

Bertotti

It will thus

Palladio's

shown

portions

the

which, owing

of the

many

feet wide.

originallyat

the

to

buildingproper

75

takes

above, the shape of the site

induced

have

may

had

notable

most

general principlesof

in

warrant

mentioned

As

the

remarks

His

Vitruvius.

which

master,

plan, he
elliptical

of the

; the

Romans.

inquire into

to

adopted by
of

the

of

plan

to

33

left,and

acquired

were

afterwards.
The

diverging streets,
perspective,and

built in
architect
site
to

Scamozzi.

an

stage.

portions of
novel

and

for the

thus

The

ellipticform,
circles,
was

out

diameter

of this

from

same

one

audience

exact

in the

first set

intervals,four

an

ellipseas

centre.

In

are

executed

by

the
a

of this he wished
as

roomy

possible,

that

produced by

upon,

thus

producing a

of

economical

hearing

is described
10.

with

radius,

this circle

half

of

and

of

by Bertotti,

The

ellipseis
the

smaller

circle is described

a
are

drawn,

equilateraltriangles,
touching
F

had

master

rather

plan, No.

12,

probably most

settingout

annexed

as

desirous

executed, and

as

or

No.

our

that out

decided

pleasing result,and

seating of

the

that

see

auditorium, presumably

three

is shown

illustration

designed and

were

We

seeingclearly.The
and

in

parallelogram in shape, and

produce

and

shown

the

at

equal

circum-

ANDREA

34
of the

ference

face of the

the

position of

the

through

width

of the

is found
from

which

the centre
The

of the

circle

imagines

semi-diameter

podium,

has

twelfth

at

the

in with

work

an

equal

to

added

in

is

stone,

placed one
columns
of
them

the

on

the

diameter

14 feet in

length
(the

smaller

inches,

height

the columns

Vitruvius

the

of

feet 3

The

of

the

of the

should

be

orchestra, was

is one-fifteenth

to

one-

fixed

part of the

that

of

the

together.
of

in

podium
of

half

The
two

the other.

as

the

by

larger

height,or

Palladio

possible,making
place

of

the usual

orders

Vitruvius

of

these
circular
semi-

order

constructed

Corinthian

gives

orchestra, and
8 inches

kept

height (4 feet)is nearly

of the larger and
smaller

face of the scene,

of the lower

the

that

prove

much

as

out

composed

over

feet, which

70

the

which

the

of

elliptical
plan

one-twelfth

diameter

off from

ellipse.

points

one,

centres,

strikingit

equals 69

according to

of Vitruvius

rules

two

feet 7 inches

18

to

Scamozzi, in endeavouring
to

gives

side.

pedestal on

feet,which

of the

diameter

and

it,70 feet 4 inches.

which

circle

of the orchestra
the

by adding

part of the diameter

Palladio

between

which
ellipse),

continued

or

rest, and

scene

inches,

of the

Palladio

as

found

of

stage {pulpitmri).The

itself is about

scene

is

orchestra, 50 feet

each

side openings

line drawn

the

of

stage and

distance

on

the

of

give

the bases

points.

centre

ellipseis described,

the

length

Bertotti

the

of this raised
the

by taking

these

at

of the raised

the front

opening

three

of the

centres

approximately by

through

scene

positionof

or

The

trianglescarried
the

of the other

sides

orchestra.
indicated

parallelto

triangledetermines

one

dividingthe audience, placedin rising

the wall

scene

of

the

are

in the
the

while

scene,

the sunk

side

The

circle.

the

tiers,from

PALLADIO

the rule that

should
Palladio

less than

columns

be

has

the

quarter
made

quarter of the

s
"

Pi

PUBLIC
These

diameter.
The

upper

The

columns

but

of the

the

as

columns

semicircular

are

in

of the
the

acanthus.

columns
small

of the

capitalsare
is

Above

filled with

while

well-known

by

Between

the

placed

niches

and

there

formed

has

scene

smaller

are

under

These
interior

either

side

built

are

(see

Plate

of the

as

mentioned

the cornice

historyof

Vicenza

front

panels

Hercules,

first storeys

framed

in with

archway
of the

side, form

the

line

the

lower

circular
semi-

storey,

either side ;

on

entrances

the

to

radiating therefrom.

perspective,with

12);

of

ground storey.

streets

as

in

in

mentioned
in

In

of

buildings

sight,or

stage level and

on

horizontal
the

upper

auditorium.

construction

Palladio,but, as

and

statues

and

line, being halfway between

tier of seats

high, with

of

and

ground

of the

constructed

streets

labours

large open

the entablature

scene

half-

square

are

square-headed doorways

openings, central

These

This

the

to

pediments,triangularor segmental.

form, springing from

and

the

of

occupied by

of the

centre

in treatment

columns.

them

leaves

sculptors.

columns

entablature
pilasters,
The

between

statues,

Corinthian

of

lower

of the

axes

Their

the

states

8 feet 9 inches

sculptures representing

executed

are

order

upper

below,

support

Bertotti

is
The

like those

olive, a leaf similar

the

the

pilastersover
placed statues,

are

feature.

diameter

columns.

and

the

of

to the wall.

columns

attic storey about

an

lower

type.

are

their lower

attached

height.

Corinthian

isolated

not

and

plan

pleasing

very

1)are

in

height, and

in

of the

the lower

pedestalsprojectover

forming

of the

and

ones,

diameter

(seePlate

diameters

is also

scene

lower

of upper

35

9^

are

feet 6 inches

1 1

are

that

equal to
upper

columns

order

height

same

BUILDINGS

the

perspective was

not

designed by

above, by the architect

proceedings of

by Marzari,

and

the
also

Scamozzi,

Academy
by Scamozzi

and

the
him-

ANDREA

36
self.

This

idea

of

PALLADIO
introduced

perspectivewas

the

by

naissance
Re-

architects.
The
to

treated

it, are

(Plate1 1 ). On
each

in

the

which

The

first floor has

instead

of

should

one-sixth

be

in this

would

case

ideas

follows

as

the orchestra

this

namely, 58

"

equals

Palladio

has

50

this
the

by

than

the

finds

that

feet

added

"

to

the

the

site, and
would

of seats

is

15 inches

his

and

placed

columns,

and

11).

having
formed

of

feet ; one-half

of

feet 4

inches, and

of the colonnade

to

The

niches

as

and
hide
centre

therefore

more

restricted

cramped

They

about

are

Above

height.

the

high.

and

wings

of

are

In

intercolumniation.

is formed

in the illustration.

of isolated

site

engaged

these

The

These

the

of
irregularities

alternatelysquare-headed and

seen

top

colonnade, the columns

feet 6 inches

the

Above

constructed
was

in

12

ing
surround-

high.

master

been.

have

Corinthian

in their

placed statues,

are

of

one

this ; the wall

The

15^ inches

in diameter

cleverlycontrived

(Plates 10

seats

otherwise

in width

inches

rising tiers.

gives his

shorter

8 feet 4 inches

about

this,

longer diameter

100

equals

of

case

from

subject,and

measurement

being

the

In

depart

to

the

approximately followed

in thirteen

they

being

are

had

orchestra,

the

on
plan, are
inclosingwall, semi-elliptical

seats

here

of

diameter

on

feet, one-sixth

the orchestra

are

usual

feet, equals in total

43

inclosingwall (or podium)

that its height
Vitruvius
was

Palladio

he

balustrade

the

to

be 9 feet 6 inches.

as

bas-reliefs.

filled with

panels

part of the

theorizes

Bertotti

own

row

As

doorway.

niche,

semicircular-headed

opening,protectedby

central

elliptical
plan, however,

and

21

side

auditorium, the rule of

of the

which

each

on

front

the

to

manner

to
placeda doorway centrally

floor is

ground

right angles

at

are

similar

slightlysunk

are

which

scene,

somewhat

return, having

above

an

of the

walls

return

circular
seminiches

remainder

columns, with

seven

"

13-

MONUMENT

TO

COUNT

LEONARDO

PORTO

IN

S.

LORENZO,

VICENZA.

PUBLIC

intercolumniations

executed

by

The

of the

height

without

allowing

the voice

space

permitted.

Bernini

by

and

"

is

reputed

illustrated
one

of
Ionic

lower
a

allow

the

basement

of

with

the

singlerow
Among

of his two

central

leaves

of Palladio

Triumphal

are

Arch

the
at

had

him, but

and

pleted
com-

; the

which

rest

being placed

four

there.

principal

isolated
in order

These

triangular pediment.
the

the

Ionic

scroll,a

necking (Plate 14).

reputed designs which

following

nor

sists
design con-

intercolumniation,

and

Vicenza,

Porto, and

The

sons.

(Plates 13
at

Leonardo

round

to

mentioned

tombs

unusual, having, beside

only brieflyrefer to
The

of Conte

entablature

an

of acanthus

other

Lorenzo

of three

principaltomb

support

capitalsare

of San

pedestal,on

wide

colon-

provided

Porto

by Palladio, although not

or

Both

Aleotti

Leonardo

Church

those

stage,

Milizia.

by

remains

flat, and

attributed
G.

to

is

and

been

have

stage

diameter

ceiling

(1618) is

It consists

ones

columns,

columns
The

him.

containing

the two

to

by

be

to

were

the

hindrance.

doubt

Conte

to

of the

auditorium

without
no

stated

as

is in the

This

14).

Above

which

level

The

designed by

been

Monument

The

to

screens

building.

(less9 inches) of

Parma

at

have

to

as

columns

the

feet.

40

travel

to

Theatre

it appears

the

of

from

theatre

porticoeswould

and

act

balustrade, supporting

interruption over

nades

The

is

line

is four-fifths

extends

; these

angles of

the

orchestra, viz.

the

37

Casetti.

Giacomo

the attic cornice

and

the

in

verticallywith

statues

division

of this colonnade

the entablature

of

each

to

formed

the staircases

BUILDINGS

we

can

Venice, erected

on

the

occasion

ANDREA

38

of
to

that

first

second

one

Gateway

At

Brescia

Bramante.

in

Brescia,

"putti

"

indicate

they

work,

usually

The

Piedmont.
"

The
"

illustration

be

to

ruins

by

the

of

his

laying
Piazza

by

Temple

If

earlier

of

for

menced
com-

of

of

one

Formentone,
of

Vulcan

and

the

they

type

was

given

Sansovino,

Palladio.

much

this

is

erected

was

architect

the

with

associated

Vicenza.

the

by

said

are

(the

detail

ornamental

"loggia");

the

loggia

on

is

frieze

dressings

The

the

of

some

An

15).
1508,

Feltre

at

architect).

called

(usually

(Plate

Publico

Palazzo

designed

he

by

similar

Bassano.

at

Municipio

these

the

(a design

France

Rome).

at

another

by

was

of

storey

of

King

as

Severus

Septimius

of

The

the

entering

III.

Henry

PALLADIO

are

of

window

really

detail

than

Royal

Park.

name.

out

of

Maggiore,

the

ancient

1549.

the

his
is

Alinari

p/ioto.~\
15.

THE

WINDOW

THE

PALAZZO

DRESSINGS

BRESCIA.

MUNICIPALE,

ARE

SAID

TO

BE

BY

PALLADIO.

CHAPTER

TOWN

of

SOME

Palladio's
he

palaces

built

fallen

now

the

detail,

suffer

rather

fine

for

the

his

Palladio,

should

command,

that

of

have

for

able

to

the

quence
conse-

and

such

this

mean

certain

by

should
!

purse

of

spite

in

architect

an

has

proportion
in

client's

in

been

and

in

blamed

They

which

stucco,

are

the

were

Vicenza.

executed

been

consider

depth

that

rejoice

they

been

has

of

town

background,

though

architect

designs

with

brick

having

evidently

responsible

native
faced

the

from

Our

critics, who

his

brick

in

designs,

materials.

in

from

away

important

most

erected

mostly

were

HOUSES

be

would

We

material

at

his

produce

such

excellent

Palladio

introduces

results.
his

In

of

subject
"I

says

they

am

going

am

who

be

to

with

how
the

to

any

give

to

give

or

favour
me

an

hear
that

over

proportion

particular

to

God

think

were

old

look

(in

me

of

way
at

has

opportunity

all
done
of

which
I

amongst

putting

several

sumes
preI

have

and

sonable
rea-

and

reasons,

indeed

way,

that

judicious

building,

me

new

and

everyone

happy

very

ings
build-

book,

which

my

and

this

introduce

to

approve

in

He

the

upon

of

generous,

and

grace

is

building

will

who

persons

shall

draughts
it

of

art

who

the

remarks.

quaint

some

the

hard

knowing)

enough

they

give

to

know
in

with

that

sure

III)

(Chapter

houses

town

particularly

met

book

second

wards
after-

is without
own

many

it

as

others

things

in

ANDREA

40

practicewhich
and

I had

PALLADIO

learnt

by

laborious

very

examination

long study."

that

Chiericati

Palazzo

The

principalfront

the

the

on

the

wings

two

floor

upper

this

of

front

treatment

which

be

remarked,

because
of

treatment

facade

floor

and

order

be

studied

edition

This

often
is

with

up

portion

the

hall.

Doric
is

of

The

for

the

example

an

favoured.

This

is to

generallyassociated

with

storeys in height.

two

advantage

Palladio's

the

mistake

all the

in

central

floor,and

embracing

of

pilasters,instead
6.

is carried

forming

first

length of

as

excellent

an

method.

with

is shown

whole

orders, the

two

name

an

Leoni's

as

Plate

has

and

Palladio

master's

building

in

for the

our

of

example
In

may

floor, the

first

his

the

shows

plan

ground floor, and

walled

Ionic

of

This

the

to

building

ground floor, the

the

the

on

being

"

portico,extends

great gallery,or

The

(Plate 16).

central

of half

Ionic

order

columns,

editions

of the

shown

as

in Leoni's

appears

subsequent

Architecture," this

"

edition

of Palladio's

first

in
of

our.

17 15,

works

by

this author.
It also

in

occurs

the

critics will agree

Most

would

half columns
The

interest.
methods

Another

Doric

have

in Book

column

base

or

architect
of

follow

rooms

N.

pilastersfor

of much

facade

N.

out

of its

Palladio's

I., Chapter XXIII.

of the

of

is the continuous

facade

which

support

itself is also

the

substitution

of the

stylobate, upon

solid

of

deprived the

special feature

pedestal,or
forming

the

that

proportions

described

as

editions

to the

the

lower

whole

sturdier

order

structure.

rests,
The

proportions than

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

TOWN

an

would

"

otherwise

columniation

the

master's
altered

order

to

them
create

The

Such

in which

it,

doors
in

their width

graceful

more

deviations

circumstances

from
how

showing
of the

the

; in

case

various

in

features

this

sees

at

that

when

good

and

are

adherent

of the statues

none

vertical

additions
have

vases

of

the

very

death, viz., towards

to

architecture

master

nor

innovations
consist
also

in

out

find

we

in

of character

of circular
a

had

the least idea of

consequence,

instead

decorative

rules

one

which

vases

shown

are

the

his

structure

columns.

It is

the

1700.
who

mason

base.

design,certainlythe
unpleasant effect. Although

improve

large part of the building appears to

during his lifetime,it was
only finished a
confided

no

them, but

to

crowning

as

lines

or

after his

own

practisedmodifications
judgement demanded.

the

up

have

he

book

if these

attenuated

slavish

no

in the illustration

seen

carrying

doubtful

was

better

Palladio's

which

he

necessary

taste

In

and

that

once

Palladio's

building with

order, nine

Ionic

pedestalswhich

height,restingon

comparing

the

with

storey is treated

upper

diameters

In

and

one-eighth of

interestingas

are

the

calls

width, whereas

lighterand

inter-

proportionate.

were

In

and

ensemble

an

their

they

"

The

Vitruvius

as

windows.

suit

to

solid

was

that the windows

giving

precepts

own

or

twice

twice

upper

which

for the purpose.

height of

difference

proportion to
he

weak

diameters,

storey they are

height,a

the

too

three

is

this floor have

the upper
in

look

41

portion of

It is also to be noted

diastyle.
on

the central

storey

upper

HOUSES

the

our

flat

treatment

Bertotti, in conclusion, defends

G

erected

been

considerable

Bertotti
neither
master's

time
it

says

was

of

knowledge
taste

or

style.

portion finallyconstructed

with
of

have

the

originalwork.

These

ceilingsin compartments,
not
originallyintended.
Palladio

from

certain

re-

proaches made
studied

to

number

of

suitable

in

hindered

partly

This

finished.

courtyard

of

site

In

Palladio's

possessed

that

the

thought
shops

proper

that

are

very
side

and

necessities

have

mezzanine,

or

of

the

the

itself!

history repeat
Renaissance,

which
have

to

at

in

had

half

the

near

important
only

designs, was

of

central

by

square

rusticated

size of the

; the

rooms

fronts

the

the

least

classic

days

provided

is

The

"

says,

ground

floor

for

market

times, the

be

storey,

fact

; the

architect

regard for the advantage of

does
of the building." Thus

modern
to

the

to

he

town,

the

leave

to

expense
In

of the

heart

some

shopkeeper.

certainlynot

of drainpipes

regarding this building show him

for after mentioning'the
sense,

it

that

before

feet.

by 176

in the

on

his

it consisted

building is

being obliged
those

feet

190

of

many

the various

are

common

was

time."

most

inches, surrounded

remarks

have

so

Palladio's

of

one

plan

84 feet

being

our

Situated

"

was

arcade, beyond which

whole

needs

exposure

(Plate 17).

Thiene

and, like

commissions,

the

certain

existed

have

! to

these
in

are

The

"

fronts.

Palazzo

market-place.

their houses

they

magnificence by

house

our

The

and

infinityas

to

living,and

lived

needs, and

their

to

dismissing

of

Palladio

in

architect
happy sixteenth-century

sanitation

use

demanded

In

methods

refers to the

only

rooms,

them.

century in which

multiplied

not

were

times

general proportions

little for the convenience

too

inhabit

to

thus

of the

of these

critics,
viz.,that he had

many

cared

were

Bertotti

the customs

by

magnificence and
had

who

persons

charge

men

the

buildings,and

the

the

against him

much

too

of his
of

PALLADIO

ANDREA

42

placed
facade

Rome,

In

for.
the

this

shops

another

shows
A

in

the

commercial

same

over

successful.

of

rusticated

case

for

the

method,
lower

\-J.

I'ALAZZO

DETAIL

OF

VICENZA.

THIENE,
1'ORTION

OF

FACADE.

TOWN
flat arched

storey with

HOUSES

windows,

43

surmounted

arches, supports the first floor,ornamented

attic. The

with

this

order

to the first floor have

windows

and

entablature

with

columns

Ionic

above

pedestals,and

pilasterson

semicircular

by

composite

is

small

placed

an

three-quarter
This

pediments.

is

an

composition,the reserved use of the order for one

first-floor windows
storey only being very happy. These
which
shafts restingon
rusticated
have
pedestals,between

excellent

placed balusters

are

probably designed by
the

delicate

another

mistake

are

in

in

are

them,

without

height of

fourth
the

its

height ;
the

architect

our

the

of

narrowness

which

Vitruvius

in his

streets

been

similar

that the necessary

openings

the

rooms

Bertotti

of the

upper

found

many

has

have

been

also

refers

attic here

The

guiltyin
to

the

erected

is

has

storey.

In

The

small

during
are

the

as

of

shortening
fore-

upon

of

by

courtyard is

which
and

this

out,

authors

drawings.
was

He
doubtedly
un-

that

his

premising

that

lifetime, and

carried

building,

other

completed portion

Palladio's

not

account

one-

arcading between
windows
lighting

regard to

of
discrepancies

that

to

insisted

left for the

also

tion,
propor-

measure

of

being adopted, except

treatment
are

usual

consequent

This

their measurements

fact

published drawings

the

they

one-fifth

evidentlytaking

III., Chapter III.

Book

Ionic

Leoni's

increased

been

previously

equally fortunate,
piers.

is Palladio's

and

makes

original

In

about

at

mouldings.

upper
had

necessity

the

basement

in execution

drawing.

is shown

it has

execution

in

of

Bertotti's

in

as

and

mediate
inter-

an

Palladio's

In

bases, whereas

column, which

the

whereas

by

of the

treatment

realityplain.

entablature

drawing: the main

the

lead

to

pilasterstage. Leoni
rusticatingthe pedestalsof these

pedestalshave

the

in order

Palladio

composition,

Corinthian

columns, which

designs

unusual

the masculine

stage from
to

somewhat

ANDREA

44
Palladio

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 rightlyreprimands Leoni, who
in his edition of Palladio's
was

works, published in London

do

well

facade, as

the outer

the

in

exist

not

unpardonable,and
we

can

him

that

on

shown

the

to

on

courtyard,which

Such

portion.

attics

mistake

is

is

Bertotti

with

agree

as

executed

in referring
to it in
justified
rightlyeulogizesthis building,and

Bertotti

terms.

strong

17 15, has

in

when

he says,

of his restorations

apropos

designs, "The

the

striking magnificence of the

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

the

strength of

the

of the

distribution
executed

in

apartments,

of

the

master,

the

finished

known

of

Palladio's

explain

the

(Plates 18

reader
Our

and

judicious

scheme

up

made

which, if
ornament

an

According

adorned

with

Bernardino

to

our

sculptureby

Ridolfi,and with

paintings

India, both

author

honour

their

works, and

and

the

latter

the

great British

and

and

the

best

illustration

treatment

"Conti

the

to

Valmarana

followingdesigns,not only for

convenience, but also for the

there

of

one

plan

says, that the

country." Truly

Would

the

is

19).

in his book

and

This

"

general distribution

according to

glory of
this

noble

Palladio."

Valmarana.

Palazzo

The

own

and

the

pilasterswhich

of Verona.

being

built

of

portionwas

Canera

Anselmo

will

country

the

have

Vittoria,Bartolomeo

Alessandro

of

make

entirety,would

its

worthy

by

and

courtyard facade,

the

ornament

arcades

were

Empire

many
!

The

38

and

noble
such

plan

men

shows

their

ornament

and

ment.
patrioticsenti-

nowadays

in

that the house

rr-p-prji

t
siIf. 6:1-

f/;o

Jlfu"rion.

*Jco/*

18.

PALAZZO

VALMARANA,
PLAN.

VICENZA.

Alinari

photo. ]
IQ.

PALAZZO

VALMAKANA,

VICENZA.

HOUSES

TOWN
is divided
shown

into

large garden,

stables

The

The

also

are

central

feet

120

placed in

equal

calls

plan,

on

Scamozzi's

drawing

the

"

There

side walls.

in

whereas

reality
"

wall

two

were

side

to the

general line

the

from
else

as

walls, in which

Palladio

latter
but

of

arrangement,

left it

modern
this

in

shape

as

the

front

Palladio

not

legacy for

buildings have
of

square

is very

at

condemned.

once

settingback

the

facadein
from

the Valmarana

much

criticism.

having an

order

in

and

height

the

extremities
the

front

The

block

facade

of

our

of this

great pilastersare
of ten

and

attic

order

main

above

order

the

be

only to

of the

quarter times

the

taste,

has
of

been

Palladio's

three

is

in

brick

subjectof
treatments,
two

been

and

Composite order, and

their diameter.

facade

storeys
At

storeys.

has

The

be

learn

we

them.

over

to

The

the

The

rooms

seen

day.

own

storey

embraces

base

the

sites.

make

to

important design

the

for

Many

predecessorsdo

our

another

an

the

good

Composite pilastersembracing

having

or

with

of all times.

has

Palace

It shows

his

awkwardly shaped

principlesequally applicablein
(Plate 19) of

up

choosing

only showed

unsatisfactory,and
Thus

back

the street,

made

In

to

spoilt by neglectingto adopt

principlein dealing with

method

Bertotti

be set

to

being

architects

been

at

it line

rooms.

gular
rectan-

as

treatingthis
rightangles

buildings in

general building frontage, allowance

difference

of

have

arranged it,of making

in

rightangles

at

only

as

height

in

front wall

the other

of

is not

it would

case

wide.

that

shown

shown

as

ways

facade,viz.,either that of making

at

observe

to

building is

front

is

("arch'd"

ceiled

ones

is curious

site of this

the

edition

Leoni's

inches

vaulted

are

upper

It

feet 6

behind

of the site.

rear

the

breadth.

their

to

and

them),

court, and

68

by

ground-floor apartments

Palladio

the

parts by

two

45

the

Only

executed.

stucco.

have
main

The

height
entab-

46

ANDREA

lature
rests

is one-fifth

height

critics have

and

order

of half

mainly

height backed

of their

is not

happy arrangement.

is one-fifth

each

of the

entablature

the

is

the

surmounting
to

the view

The
in

height.

central
the

As

when

is of
the

columns

for

regard

to

the

they have
the

which

variety

of

passage

carriages.
Palace, the

of

the

extremities

of

in

which

its cornice.
some,

does

might

instead
As

not

and
be

and

do

not

could

to

correct, the

terminate

thereby apparentlydiminished

and

the

is

in

quired
re-

in

dispute

the

main

the

facade
secondary order

support

length of

angle

facade. By

that

principleof design this, in

appear

the

divided

are

the

diameters,

one

point

seen

expected,the
made

of

central

main

continuous

doubled

executed.

J diameters

is 3f

Critics

not

being

statues

Palladio

that

the

of

are
pilasters
manner

ones

upper

been

order,

illustrations,it will be

one

principal

shows

not

Ionic

width

The

treatment
to

is

order, but by referring

the

reference

to the

width, the

diameters, and

the Valmarana

the

is broken

pilasters.Above

of this colonnade

ones

diameter.

this

this

to

wished, it is interestingto find that the

intercolumniation

intermediate

being

that

showing
he

main

projection.Palladio

seen

colonnade

order,

entablature

windows

their

twice

pilastersof

it will be

interior

introduce

flat

main

attic,the height of which

an

of small

ture
entabla-

and
pilaster,

against the

height of

balconies

having

with
pilasters

against the

quarter that of the pilasters.The

storeys have

upon
which

arrangement

The

height of

intercolumniation

main

the

of

denounced.

consists

quarter of

one

ground floor,rests

largerorder, an

the

the order

secondary order,

the

one-fifth

order

the

marks

column, and

pedestals

The

pilasters.

pedestalas

This

the

of

height

type, which

same

many

at

the

of

Corinthian
the

the

projecting rusticated

upon

the

PALLADIO

statues

the

the

framing

above

opinion

of

facadebeing
of the whole

Aliiiari

plioto.]
20.

PALAZZO

15ARUARANO,

To rVT-

~f5a"-fcarinr

VICENZA.

TOWN

HOUSES

design unpleasantly affected.

hesitation

without
a

chef-d'ceuvre

extent

by

as

elegance of

the

house

courtyard.

in many
also

has

an

its

order

of

through
There

have

an

was

is

no

flat arches

doubt

astylar
an

upper

is interesting

originaldesign
hall

originaldesign
on

Corinthian

one

podium

beyond

storey has

facade, each

the

to

plan, this

In

large columned

that the
On

; the

be

arches

architraves

and

second

the

half columns

carried

was

to

the

being

most

consoles

ornate

the windows

space

giving

should

The

unnecessary.
The

the

possess.

impost moulding

manner.

space

and

ground storey

as

of wall

design is

floor the wall

is rusticated

taken

rest,

executed

or

ground

abundance

strength which

these

is

as

storeys.

storey is in Palladio's
have

out.

resting

smaller

an

This

actuallycarried

in the

in

of windows.

his

scribes
de-

has,

has

facade

shows

As

semi-columns
two

feet,and

50

insertion

Palladio

court.

open

Exception might
which

the

situated
the

of

one

"

leading to

the Ionic

necessary

and

Palladio

"

(Plate 20).

because

ways,

immeasurably superior.
between

for its

pilastersand entablature,

the

by

Barbarano

order, whereas

own

been

much

being

was

The

Corinthian

mutilated

that which

is

have

(ground storey)supporting
with

entrance

which

It

about

internal

being

Capra.

of Vicenza.

frontage of

Palazzo

and

Guioglio

storey, ornamented

The

the

accepted

distribution

already commenced,

as

basement

the latter

be

it would

"

its

that

may

magnificence, as

regularity of

Signor

designs,having
rusticated

views

that

says

beauty and

of

principal street

an

he

unfortunate

is

Bertotti's

when

for

this

usual,

It

its ornamentation."

House

the

but

is unfinished,

house

47

upon
upper

windows

supporting pediments,

alter-

48

ANDREA

PALLADIO

natelytriangularand
The

figures.

podium

with

balustrades, while

and

rest

cornice

of the

lines

being

carried

to

never

quite surmounted.
Rome

ground

columns.

remain

always

must

of the

meanness

the

this has

been

the

of

have

to

architect's

his

regard
remark

height
of

the

and

book

chides

the

to

Palladio

hide

Ionic
an

The

those

shows

it

to

Bertotti
he

points out

to
are

portionat
proexisted.

facade,

diameters

of one-fifth
columns

more

which

of the

are

but

with

the advancement

them

defects

entablature

and

our

N.," for altering

render

columns

of the

throws

of

to

"

certain

endeavoured

has

contribute

to

as

side

one

measurements

height of 9! diameters,

by one-eighth than

execution

client,which

his

in

In

land

architect, N.

Corinthian

The

opening leading

central

general proportions

the

given

are

to

the

that

to

the

palace

matter.

over

actually executed

order

study

pedestal to

design.

the

were

Greeks

stucco, this

Additional

in order

also

columns.

storey have

they

as

the

Ionic

completely lost sight of

with

give

to

tration
illus-

the

of

the

art

stating how

after

The

of Palladio's

of the centre.

out

measurements

and
With

is

acquired by

precision,in

of art, he
the actual

of

master

bays

been

works

the greatest

of

vestibule.

faults, and

throughout

used

seven

principalentrance

several

may

material

columned

appears

and

considerablyaltered.

regularfacade
a

in brick

triumph

excellence

superior

into

built

Although

of

with

columnar

statues.

treatment

absence

the

over

treated

plainly

influence

pierced
unfluted

are

which
difficulty

The
the

is

building,the

angle
"

in

attic

supporting

storey

shown

is

windows

immediately

whole

successful

shaft

in

the

and

up

the

An

clining
placed re-

are

columns

block

the

crowns

shows

Corinthian

order.

lower

windows

square

the

these

to

continuous

upon

which

segmental, upon

the
the

less in

ground storey.

This

we

in

height
second

height
forms

!I.

I'ORTO,

PALAZZO

DETAIL

OK

COURTYARD.

VICENZA.

HOUSES

TOWN

the

of

upper

The

diminution.
third

of

that

divided

is

columns.

These

the

of

IV., Chapter XXX.),

used

in

good

taste, for

made

to

facade.
in

The

impost

moulding

how

The

in

proportion
to which

uses

front

82

be

suit them
the

being
by

the

wide
Thus
to

to

latter

made

courtyard
the

overcome

important

the

study
the

upon

street, would

at

of

back

consideration.

lower

this

the

to

entrance

solid

in

plinth.

of

have

methods

vault.

this,as

the

variations
order

to

columns

Their

bases,
hidden

been

order, whereas

raising was

architect's

difficulties

the

of the courtyard

Corinthian

otherwise

of the

our

to

regular proportions,in

raised

also

are

columns

support

of

position and

the

Ionic

The

an

scales

different

Vitruvius

specialcircumstances."

the

rules of proportion.

own

those

to

to

height, showing

with

and

be

support

I.,Chapter II., "that

the

from

narrow

his

and

diameters, those

followed

Book

projectingcornice
by

having

Palladio

attached

The

gi diameters,

in his

first floor
in

intended.

Palladio's

piers

in three

employed

height of

possible that

well

may

is

(Palladio,

it shows

their

from

type,

straight-facedtype

high,

of

Roman

capitalscan

diameters

departed

was

back

latter mentions

the

building, varying

this

diameters, these

It is

to

order

have

the

at

of

Ionic

these

faces

one-thirteenth

each

facade

8*

are

often

Ionic

those

to

of the

position

four

having

columns

architect

our

that

the

one-

entrance

Concord

of

Temple

tinuous
con-

isolated

by

parts

instead

In

correspond

walls.

three

the

plan

In

those

of

height

angular capitalsof

Book

the

order.

into

have

those

storey has

attic

Corinthian

the

vestibule

resembling

by continuing

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

line of the

the

is obtained

pleasing proportion, and

very

49

in the

unnecessary.
do

we

learn

foreshortening, always

an

ANDREA

50

PALLADIO

C^O IYea ns-^Po rT"-

The

Palazzo
in this

apparent
and

elevations.

portion only
lead

to

columned

crowned
this

This

sky.

with

house.

The

columns.
front

and

the
and

one

part of the house

other

the

which

custom

may

that

house, and
separate
Veronese

of

the

as

interior.

The

pleasing of

the

rusticated

circular
a

piano

Between

by

an

artist

that

architrave

these

supported

Composite

and

fro with

main

designed
his

family,
that

the

freedom,

more

who

the

staircase

go

up

and

down

middle

it may

to

the

with
Ionic

carved
columns

the

to

ment,
arrange-

Palazzo

Thiene.
and

keystones, supports
and

square-headedwindows
moulding, and provided
are

of

of the most

square-headed windows,

with

two

Paul

mentions

paint portions

in

shown

the

the

serve

of

sarily
neces-

may

par.t of

efforts,and, in regard

already

in

side

one

on

beautiful

most

employed

attached

the columns

portions

Palladio

master

Palladio

relieving arches
of

"

tall

(Plate22) is certainlyone

basement

nobile

that

fabrick."

master's

entablature.
surrounded
with

consoles

alternatelysegmental and triangular.

pediments Palladio
designed reclining figures,

carrying pediments
Over

in

the

exterior

resembles
A

those

being

parts

first floor is

and

to

pass

prospect of the

back

reception of strangers,

places the

courtyard,"that
have

floor, which

the Greeks, held

ancients, especially

the

great regard." He
the

each

of these

for the

part for the

back

of

Behind

(Plate21).
on

observe

to

courtyard,

colonnade

the front and

backs

the

to

street

storeys in height and

the

on

are

the front

each

central

by

passage

passage

from

great

two

between

It is curious

the

streets, and

two

studies

gives a plan, section

balustrade

covered

pilastersattached

on

and

for communication

of the

he

entrances

to

embracing

is

classical

is surrounded

entablature

colonnade

serves

The

halls

columns

Composite

which

buildingfaces

executed.

was

the

Palladio's

"

building,of
The

through

open

Porto.

Alinari

photo,
PALAZZO

PORTO,

VICENZA.

HOUSES

TOWN
but

the

executed,

helps
and

shows

view

facade, which

between

Palladio's

carried
Palladio

shows

of the attic

the

better

from

of

To

about

in
between

occurs

the

drawings

of

executed, which
at

common

occurrence

careful

and

the

nearly

decidedly

at

infinitely

an

great height

draughtsmanship,
the

period

in

by looking
at

at

the

Vicenza,

collection

in

the

He
that

of

that

it is not

expresses

it is

very

drawing
to

Palladio
to

as

be

dered
won-

lived.
been

have

In

of

description,although

for the

also

This

purpose.

in the

libraryof

the

of
on

accurate

autograph drawings
and

each

measurements

days
which

those

measurements

case.

appears

unfinished

and

crude

the

opinion

and

and

designs

actual

in these

accurate
sufficiently

alludes

in front

ence
extraordinarydiffer-

every

of

are

days draughtsmanship

The

only four,

are

is

storey
the top

descriptionof

by side,

we
even

during

at

in

vary

the

after

Palladio

this, but

surprise

British

attic

cornice

this

master's

our

and

out,

book

his

buildings gives, side

museum

the

above

thinking

his

the

(Plate 22) there

free-standingsculpture

actually carried

seen

the

something dangerous looking and

is

mentions

which

those

actually

was

ground.

Bertotti

and

difference

eight of these, resting on

our

there

which

decorate

placed immediately

position ;
the

which

range

pilasters.

gymnastic

statues

complex

important

that

and

omission

too

appear

another

also

whereas
pilasters,

they are

of

This

ones.

really

are

groups

otherwise

design

the

In

out.

angle

two

is

three

only

might

There

crowded.

and

and

central

the

that

51

of

can

Palladio

parently
apbe
in

shire
Burlington-Devon-

Royal

Institute

of

Architects.

afore-mentioned
to in his second

buildings

town

book

as

having

are

been

all that Palladio

carried

out.

He

PALLADIO

ANDREA

52
then

proceeds to

the

privatehouses
The

of the

Palazzo

known

and

cipio,Loggia Bernarda,
erected

its

after

de'

of his

and

does

and

forward

and

into

The

also

the brickwork
fallen

opinion
the

that

three

the

in

the

this

The

been

blinds.

of this

the

facade,

plasterhas

examined

included

fully
care-

very
and

of

was

openings,

seven

In

completed.

building, the

windows

the outside

where

he

facade,

entablature,

regard

columns

have

including the plinthon

height,not

the

projecting

surrounding ground,

have

of

by

by

back, and

balconies

of the main

that

original design

of which

proportions

diameters

mentions

building and

and

showing

half

arcade,
triple

dilapidatedcondition

columns

Bertotti

off.
the

only

of the

well

portion forms

is hidden

one

is crowned

and

is set

over

architrave

the

shows

Composite

triglyphbrackets.

design which

in the

view

the

the Piazza

through twofstoreys

them

windows

supported on

of this storey cut

defect

lower

it is

original

it were,

general proportionsof

storey has

upper

round

The

been

that

of the

glance,as

one

carried

storey

the

The

excellent.

are

the

attic

interfere with

not

which

breaks

The

have

noticed

be

productions.

pedestals,are

their entablature

balustrade.

therefore

must

It will

at

see

can

latest

without

It is not

oppositehis masterpiecein

we

and

earliest

columns,

Thus

Signori.

is also

Communale.

building,a portion only

is situated

design, and

Palazzo

publication.

small

comparativelya

"

book, and

in Palladio's

mentioned

This

(Plate23).

Capitanio, the Prefitizzio,Muni-

del

Palazzo

the

as

of

Greeks.

Consiglio

del

and

types of atrium

of the various

treat

which

to

10J

they

rest.

The
and

entablature

the arcades

2^ times

height about

is in

which

their width.

are

The

between
treatment

one-fifth

the columns
of

the

of the
are

side

column,
in

height

facade is

Alittari

photo. \
23.

PALAZZO

DEL

CONSIGLIO,

VICENZA.

HOUSES

TOWN

round
used

smaller

front, the

the

from

different

building,and

rest

the

with

entablature, without

architrave, which

projectingbalconies

of the

side

of which

placed

being

the raison

even

window

upper

used

by

the

work

in

after

after

considers

in

that

and

statue,
and

England,

whose

it is

name

this

death,

Palladio's

elsewhere, thus

niche

years

with

Adam,

Bertotti

Doric
a

very
much

frequently

building was
at

or

central

The

pair of

this

to

dignity and

the

feature.

by

central

the
refer

with

side

each

them

the

entablature

of

arch

important

between

height

free-standing

main

the

d'itre of this

the brothers

erected

of

Palladio's

on

the

storey of this facade

upper

semicircular

is flanked

associated.

The

of

is wider

facade

have

interfere

treatment

his absence

the

with

sculptured figures in

certainlydoes

pilasters,
having
favourite

an

being only

archway,

an

architrave

reviewers
it

blemish, and

this

intercolumniations

by

All

of

width, with

pedestals.

on

into

cut

window.

support

corresponds

of

consists

defect, the

serious

its
side

The

spandrels.
has

and

ones

is twice

statues

storey of the

lower

front, the entablature

intercolumniation

central

the

than

is

part of the height of the columns.

one-eleventh
The

half-columns

pedestal and

continuous

carried

being

not

four

of

order

range

on

order

main

Composite

These

instead.

53

during

rate

any

bably
pro-

for the

faults above-

is known

in Vicenza

accounting

mentioned.

The
as

the

Casa
"Antica

Diavolo.

del

Posta," and

Porto."

It is another

does

appear

not

in

of

his

not

consider

but that of Vincenzio

this

This

is called

Palladio's

by

unfinished

advances

building

Scamozzi.

to

several
be

From

the

Bertotti

"Casa

designs

publications,but

own

by Bertotti,who, however,
does

"

is illustrated

reasons

the work

and

of

the foundations

why

he

Palladio,
which

ANDREA

54
discovered

Bertotti
which

he

interior
in

PALLADIO
the site he

on

columned

central

places a

courtyard with

open

publishesa

the

the

another.

on

end, about

to

an

57 feet

with

The

principalgateway.

These

columns

from

the

to

first

and

of

manner

Peruzzi,

storey. The

upper

pedestalsof

the

the

of

manner

The

ground storey is

court

at

the back

intended

was

the

height of

column,

staircases
about

feet

place these
been

intended

is to

in

be
are

not

too

The

is rusticated.

and

above

stucco

this

shows

half

columns,

continuous
have

to

seems

that

offices. The

been

excessive

facade order, which

exceed

noticed.

width, but

elsewhere.

main

elongated

arches,after

supporting a

domestic

the

the

the semicircular-ended

edifice

the

and

should

shown

as

of

of the

over

Corinthian

storeys and

pedestals to
rule

master's
the

portion

it with

height

frieze,in the

flat

space

in brick

consoles.

rooms

by

constructed, but

decorate
lower

small

have

have

of the

the

marked

portionof

been

for the servants

intended

our

has
to

This

balcony.

Only

the two

embracing

constructed

facade is

pedestalbases.

the

the

the wall

Sanmichele, and

with

triangular,and

; the windows

columns

crowned

is one-fifth

give lightto

to

capitalto

one

are

placed in

are

sculptured

supported by

order

windows

from

storey

balustrades

of the main

column, and

of the

their abaci

leaves, stretch

projectingbalconies, with
entablature

of the
of which

pediments, alternatelysegmental
The

columns
cornice

oak

windows

completed, which

Half

adopted.

height,and

in

been

deep pedestals,the

of the

impost

festoons, bound

facade have

scale

rest

diameters

10

are

immense
order

Composite
forms

of the

bays only

indicate

of

leading

entrance

semicircular

plan, in

length.
Two

it

restored

one-third
As

to

the

of the

height

plan, the

main

small, being circular,and

Palladio
finished

for five intercolumniations

may

have

only

intended

facade seems
; the

by

central

to

to

have

one,

as

HOUSES

TOWN

ground storey, being wider than

to
Bertotti, however,
disregard this
appears

the

by

shown
the

rest.

arch

way,

55

arch

and

the

on

the

restores

facade as

intercolumnia-

seven

tions.

"

Other

Town

Among

other

built

is

no

evidence

to

ground
with

show

semicircular

arches.

Corinthian

one-fifth

pedestals,and

on

their

Bertotti

authentic,
been
as

have

this

it

shown,

situated

described

England
side, the

two

about
rooms,
to

the

outer

feet

20

and
the

three

has

are

raised

columns.
on

an

the

be

to

only

have

erection, but
born

was

in

if,

1508,

give on

These

placed
and
to

length

rooms

basement.

This

is

and

is

not

should

room

of six Doric

arched

"

Rotunda,

we

feet wide

16

proportions of Palladio, while

inner

would

the

what

These

colonnade

work

Valmarana.

wide, extending the whole

having

four

floor and

he

tablature
en-

segmental

work, although

forms

being

ones

this

18)

an

between

of its

to

way

architect's

feet 6 inches.

1 1

supporting

in

good.

the

It

15

that

Conti

garden-house,and

about

one

our

Palladio.

by

is decorated

windows

time

held

the

on

in

the

hold

for

as

at

be

can

Vicenza,

near

always

old

not

Pavilion

nected
piers,con-

diminution

no

consider

not

(if born

years

objectionwould
The

on

Palladio

as

twenty-two

we

does

the

On

alternately
triangularand

coupled pilastershave
pediments.

The

height.

wide

first floor

pilasters,having

shafts, resting

work.

with

The

tions
men-

Trissino, but there

Conte

arcade

an

doubtful).

is

Bertotti

Vicenza,

it is Palladio's

that

by

coupled

their

for the

in 1540

floor it is fronted

by

in

buildings

town

house

(whose authorship

Houses

the
wide

tioned
men-

call

in

side

by

central

portico

of the

three

columns

ing
accord-

pediment

is raised

are

on

the

first

ANDREA

56
House

by

as

under

his

him

from

rusticated

by

windows

on

side.

and

in

principaldefect

lower

in the

order

in

in

is that

the

by

the

by
who

those

had

House
another

of

not

who

carried

not

consists

of

occupying
rooms

on

these
have

main

an

case

whole

depth

each

order
the

side ; the
The
to

upper

ground storey

for

the

of

are

have

been

storey.

The

Composite
kept low,

lower

columns
to

was

that

Villa

allow

structed
con-

who

Capra,
The

name.

to

being

hall

having
one

on

designed

did

plan

vaulted

yet

Scamozzi,

building, and
is

is

Scamozzi,

the

staircase

main

principalfacade
each

defect,

This

"

It is curious

leading

the

is

probably effected

Thiene.

Palladio's

entrance

light the

design.

mention

central

is

entablature
to

Vincenzio

design

sides.

and
the

that

in

of

trades
balusThe

productions, and

authorship.

Palladio's

out

windows

windows.

was

Adrien

direction

its

It

thian
Corin-

with

windows

of the

doubtful

the

mention

even

Conte

Palladio's

under

lights.

the execution

the

for

does

of roof

use

entrance,

are

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

of

flat-headed

balconies
the

this

consists

is of the

which

three

work

structure.

having

between

provide

to

the

central

first storey

of

erected

Palladio's

in

and

portion

elevation

building, and

is

arch

facade

that

regarded

was

length, and

which

The

if it

faults

pediments, while

the

occupy

into

feet

(half columns),

architraves

cut

storey

either

order

40

the

is

and

plan

older

an

of

semicircular

held

It is also

many

lower

spanned

This

"

designs.

enlarging

is almost

facade

with

in

only

Schio.

who, however, doubts

supervision.

absolves

of Palladio's

one

consisted

The

Bernard

in Bertotti

given

are

Conte

for

many

PALLADIO

so

as

of
to

thian,
storey has Corin; the

for

windows

the

of

springing

XUnari
.

photo.}
24.

THE

HOUSE

01

PALLADIO,

VICENZA.

TOWN
of the vaults

architraves

have

The

blank

windows

of the

attic

rest

the

upon

the whole

crowns

order

same

The

erected

in

evidence
of

1556

that

of

At

not.

expect he might have

side

of

Plate
9

which

diameters

height.

work.

and

fiat-headed

The

has

In

the

vestibule
Palladio

All

the

Palladio's
house

town

native

erected

facade

at

are

The

is

are

and

two

niches

an

ingly
exceed-

by

of

front

the

to

in

of about

opening
the

their

of

forms

spandrels.

side.

The

stumpy

first

tion,
propor-

attic storey, crowned

an

blank

mostly

would

one-fifth

rather

probably caused

is

one

columns

either

on

above

instance

an

is shown

recliningfiguresin

pilastersof

is obtained

room

as

between,

area

semicircular-headed

cornice.

the first storey is

for this

house,

in this

plan consists

staircase.

openings

Corinthian

modillion

The
open

viz.,84-diameters, and
with

appears

works, which

an

large centre

the chief entrance

storey has

There

time,

same

ground storey has Ionic

height, with entablature

in

the

storey of

designed for himself, it

the

is

The

24.

Smaller

the

corps de logis,with

back

to

each

resided

ever

smaller

interestingpieceof
and

"

Palladio

master's

our

; that

indeed, according to Bertotti,there is direct

that he did

one

(Plate 24).

Palladio

of

evidence

no

to

the

of

the front.

as

House

be

to

are

first floor

cornice

facade

garden having free-standingcolonnades

the

windows

pediments, alternatelytriangularand

balconies

An

order.

57

storey, and

ones.

and

segmental, while
lower

the

crowning

the lower

placedover

HOUSES

space

the fact that

from

the

of

in the centre
the

interior

containing statues

light
court.

senting
repre-

Architecture.

houses

place.

mentioned
He

was

above
also

the

are

at

Vicenza,

architect

Udine, the metropolisof Friuli,which

1

of
"

was

ANDREA

PALLADIO

foundations

by Signor

58
built

from

the
of

gentleman

the

of

being
floor

whole

the
this

of

half

portion.

The

elevation

are

his

forms

it is not,

however,

Another

Battista

indeed

it

houses

town

and

examples,

shows

site,

narrow

della

Torre,

in

Palladio's

given

which

design,

for

plan

of

and

plan

and

book,

writing

best

central

in

was

all

work.

early

an

his

of

one

all sides.

on

first
latter

the

crowns

second

when

illustration

first

probability

hipped

the

which

pedestals,

pediment

hall,

ground

and

columns,

on

Palladio's

in

given

is

The

storeys.

half

type of plan,

square

two

columns

roof

main

the

Antonini,

part, representing the

Ionic

while

bases,

without

are

of

has

portion

It is of

central

height

Corinthian

storey

is

; the

storeys in height

two

of

town."

same

Floriano

that

is

Verona.

at

but

the

for

merely

treatment

Giovanni

Conte

elevation

No

book,

original

very

of the

plan

exterior

and

tudinal
longi-

section.
The
sides

by

facing

34

twelve
The

entrances

Ionic

with
the
is

carried

round

first

floor

There

is

pleasing

and

to

The
and

order

upper

to

inches
two

on

level, for

the

spacious

breadth

satisfactory.

two

the

of

these

on

the

purpose
about

of
this

long

courts

are

hall.

upper

staircase

courts

are

and
mented
orna-

entablatures,

pedestals.
Ionic

narrow

feet

57

pilasters and

placed
top

these

support

of

Corinthian

the

each

ellipticalmain

an

the

on

courts,

to

facades

being

wide

between

grouped

leads

Ionic

in

Wedged

stairs.

secondary

feet

lead

columns
hall

lower

and

streets,

wide.

feet

1 1

are

gallery

entablature

at

the

intercommunication.

plan

which

is very

IS.

THE

VILLA

CAPRA

(THE

"ROTONDA"),

PLAN.

NEAR

VICENZA.

CHAPTER

VI

COUNTRY

introduces

PALLADIO
his

second

remarks
these

in

for

he

his

and

pleasure
he

in

private

and

his

of
in

horseback

on

his

preserves
the

word,

city, will

be

then

may

of

who,

such

on

places

relations,
and

happy
Thus

in

other

life, that

on

the

this

easily
earth

delights

their

of

attain
can

of

the

possibly
country

country),

of

or

ancient
to

the

Gardens,

highest
be

he
the

sages

friends

above

like
and

tains,
Founall

pitch

their
of

enjoyed."

appreciated

the

that

so

books,

retire

but

in

where,

virtuous

that

his

ing
walk-

fatigue

of

houses,

in

the

and

those

diversion,

where

industry

either
for

to

less

no

by

study
of

city,

improving

re-created

the

to

Pleasure

objects

could

they

and

by

country,

the

by

frequently

visited

the

proper

imitation

used

possessing

such

were

nature,

being

and

virtue,

own

himself

receive

healthy

recruited

apply

may

himself

over-laboured

accounts,

where

and

the

management

substance

only

are

and

occupying

as

and

seeing
his

strong

singularly

contemplation

in

in

exercising

(which

being

quietly

time

by

he

house

etc.,

in

the

for

or

augmenting

body

mind

from

house

perhaps

so

preliminary-

creditable

reside, either

to

in

compartments,

have

to

few

highly

government,

affairs

agriculture, where,
or

he

rest

possessions,

own

the

advantage

the

passes

'tis

certainly

houses

country

with

various

sometimes

obliged

own

the

and

of

subject
XII.,

gentleman

public post

some

of

is

the

Chapter

"As

words:

convenient
where

book,

situation

on

HOUSES

in

our

60

ANDREA

master's

not by
time, although certainly

Saturday
The
in
"

with

considered

conducive

fields and

watering the
"dead

the

animals, which

breed

curious

remark,

states

to build

of

and

This

other

generate the very

other

troublesome

Inigo Jones

in

beautiful

and

one

oppositionto
modern

other

and

fresh

the

designs,and

labourers'

the

from

house,

storehouses

better
that

as

rooms

also

preservation of
the

hay

may

and
In

in

be

corn.

be well

lighted

from

Hay-lofts
dried

of

by

the
may

the

sun

of

family,the
need

for

Palladio's
The

upon.

placed at

sorts

the

many

dwelt

are

two

his

these

sheep,pigeons,etc.
be

must

air,which

high ground.

that

master

appear

stables, he remarks, should

and

so

which
(piazzas)

ways

is also

by mountains,

continues

steward).
{i.e.,

farmer

also

airy,pleasant,advantageous,

an

for the

one

and

There

surrounded

valleys

found

having

necessary,

for

covered

and

in

supply

water

healthy situation, Palladio

are

tation
transpor-

advice

sanitary science.

good

obtained

Palladio's

good views, by placing the building on

houses

thing

easilywater

may

and

and

it is

above

commodious

be

after

the

to

for the easy

moat,

upon

side-note

cannot

Thus,

This

waters."

grounds."

teaching of

for

little

selecting a site,yet

it is

in

use

rightlycondemns

these

provisions,besides

is in direct

necessityfor

of

in

"

and

convenience

days

country house

goods

gardens
the

that

on

river

and

putrefiedand marshy

in these

that

note

to

in

and

summer

Palladio

and

gnats

understood

is well

air in

gardens.

and

of air

position near

beauty

stagnant waters, because

and

worst

the

"

to

dwelt

necessityfor finding

healthy places."

building,"refreshingthe

of the

the

then

are

space

sites,and

town

and

commodious

to

extended

positionand

open

of the modern

means

flyingvisit.

Monday

to

comparison

was

PALLADIO

stalls

some

distance

; the

granaries

north, for the

be to the
; barns

south,
for the

-r"i~

HOUSES

COUNTRY

threshing of
because

the

of

position of

the

should

corn

be at
Thus

dust.

distance

some

does

The

modern

had

all of

In

England.

different

very

corps de logisis provided for the

this has

and

wall

On

steward's

dependencies
from

group.

Palladio's

as

follows

Type

2.

"

Type

3.

"

Type

4.

Type

5.

"

"

lower
for

Villa

and

do

de

straightwings.

Do., do., with

quadrant wings.

Do., do., with

returned

an

some

part of the
be

divided

are

wings.

logis)with

Do., do., with

storey, and

at

Capra) without

(or corps

offices

granaries.

type (as the Villa

and

entablature

and

stores

may

block

flush with

wings containing the

types of country houses

rangle.
quad-

wings.

invariablyplaced in

ment
base-

storey is often provided

upper

granaries.

(alsoknown

Capra

(Plates25, 26, 27
hall),

been

with

form

designed for Signor Paolo

"Referendary" to Popes
have

often

central

generallyplaced

are

in

one

family,and

either

not

Central

"

the

stables, the

regard to plan

kitchen

its circular

to

his

and

fore
there-

to

draughts

crowned

are

England

house

used

The

the

in

Block

or

and

in

Type

The

the

apartments,

distance

side

either

would

requirements

master

advance, and

in

or

pediment.

Such

house

generally a frontispieceof columns,

front

country house

erected.

master's

our

the house

refer in detail to

dependencies of

the various

have

to

seem

from

Palladio

giving the plans of the houses he

Italian sixteenth-century
country

before

the

61

of

travelled

settle at

last in his

long time

cultured
to
own

as

and

Armerico,
Pius

IV.

the

"

28).
"

It

who
and

originally

was

is described
V.

disposition,for

improve himself,

from

Rotonda,"

and

He
"

appears

after

being

country, after the death

as

having
come

of

to

all his

62

ANDREA

friends

chose

his

PALLADIO

abode

at

country house

he

base

Berico, about

had

on

hill."
It is situated
and

one

describes

from
"as

the foot of which

at

Plates

river."
Our

26

master

and

hills

besides

which

of

sides.

It

hall, 40

feet in

building,which

of the
circular

windows

at
gallery-

in

of about

etc., extends

The

ground

sunny

and

the
the

owes

views

that

its

It has

whole

lightby

hall

master

our

faces.

the

has

all

on

height
of

means

projecting

angular staircases bring

which

its four

feet and

placed the

are

facades

is

having

an

Ionic

internal

an

basement, containingthe kitchen,

whole

of

family,"as

is raised

floor

works, and

some

the

house,

Palladio
1 1

"

for

the

use

quaintly puts

feet 6 inches

by

it.

means

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

suitable

retreat

The

14

rounded
sur-

This

views

around
of

it is

great theatre,"

excellent

The
Four

each

the

vineyards.

of its four

dome.

square,

On

under

conveniency of

34 feet.

and

of wide

the

projectingabout

colonnade

the

receive

to

section.

how

fruits and

each

easy

cultivated, being very

diameter, carried
was

portion to

living apartments.
width

them

the first floor level.

the central

to form

seem

of these

probably placed porticoesto

central

describe

to

to

most

as

impressed by

of all Palladio's

in consequence

was

much

on

position and

its open

to

delicious

and

elevation

excellent

Palladio

Bacchiglione,a navigable

been

that

the best known

probably

the

all of

are

fertile,
abounding with
much

hillock

on

site,for he goes

several

by

of Vicenza.
and

have

"

Monte

advantageous

give an

to

of

town

runs

27

seems

the

beauty of

is

the

desired, being seated

ascent,

and

miles

its situation

be

can

half

the eastern

at

from

design, the
the

porticoesare

heat
so

of

central
the

placed as

hall

summer

to

forming
sun,

catch

while

every

convenient
the

available

ing
projectray

of

"*

COUNTRY
if

sunshine

by

proper

desired, meanwhile

so

of their

means

country, would

England,
to

each

"that

the

building of

great

In his time
but

that

richness

to

the

"

spite of
it

in

hall

central

in

asylum), which

also at

for the Chateau

Mansart,

erected
in

It

his

1676.

for

the

The

spent in

the terraces."
is not

cupola

set
"

the flies ;

out

the

roof

building."

It

been

would

have

has

exercised

design

architects,who

first imitation
Castle
also

was

in

of

On

S.

lington
Buras

an

Devonshire, and
Foot's

at

J. Waring,

the continent
of

England

(used

of Westmoreland

(now occupied by

have

Lord

copied by

the Duke

to

in

an

Kent, by Colin

Chiswick

at

Earl

Esq.),

it served

as

Paris, also

Bagatelle,near

Marly-le-Roi (sincedestroyed),
a
building
for
The

Louis

XIV.

same

"

left to

by

the

sculptor Canova

Inverigo in Italyafter the

Olimpico at Vicenza, it was
it was

of

European

villa

belongs

at

died, and

this

original Chateau
of

firm,"

well, considering the

beauty

Mereworth

Nuthall, Notts.

for the

was

again.

in

Kent

Cray Place,

for

architect.

larger scale

the

drawbacks,

been

now

look

and

been

keep

great

28).

and

1729

have

to

lead-covered

solid

very

of

not

are

the top of the

not

and

that

these

have
the

Campbell,

which

and

period

the

especiallyfor

top hole

tyling does

again

to

appears

at

the

cover

presumed

imitated

model

house

inappropriate

house

must

money
and

lanthorn

extraordinaryfascination

and

the

and

it stands

"

house

preferable(see Plate

dark

this

on

of

sum

of the statues

is to be

on

for

leading from

that

this

the

"

net

remarks

remarks

He

and

In

protecting the

portico.

interest.

also

be

the passages

Inigo Jones's

on,

also

suitable

undoubtedly

also

as

63

shadow.

deep

however

bedrooms,

The

HOUSES

Scamozzi

also

still unfinished
finish

built

Like

design.
to

architect,J.

the

when

a
"

H.

house
Teatro

Palladio

his master's

work,

ANDREA

64
which

he

accomplished, according

alterations

many

the great
walk

PALLADIO

and

i$i feet broad.

on

exterior

The

of

dilapidatedcondition
the windows
obtained

from

House
Pisani.

This

is

which

grouped

one

being dark,

because

kitchens

the attics.

has

or

taken

would

the

adjoining ground.

be used

staircases

that

mentions

and

the

that

in execution

viz., that formed

plan

only

in

the

"

the

in

stairs,as
to

the

says

he

and

in

going
he

lightsome

line with

Ba'doero.

Situated

"

slight ascent,

this

following

centuries

Palladio's

country

evidently had
the

no

to

much

houses

of

the
with

varied

ably
consider-

which

type

tributary of
is of

with
middle

type
in

that
of

Francisco

the

Adige,

4, which

upon

in
In

last

country buildings.

the

all of

ruling idea.

unbalanced
the

one

(page 61).

England.

is the

is

intended

Palladio

Nobile

the

used

This

building.

is of

symmetry

sympathy

associate

and

building

was

architect

the

for

upon

been

porticoesbeing completed,

designs to

Frata

La

at

menced,
scarcelycom-

were

itself has

giving a complete quadrangle

House

wings

of the

one

country house

of the few

which

The

cellars.

places."

Bertotti

projectingDoric

positionof

only

that

Conti

the

two-storeyed houses,

In

make

to

care

convenient

they

also

quadrangle, around
the

the

excuses

what
some-

lightbeing

for

with

above

7 feet

the

to

top of it.

stables,granaries and

the

refers to, and

Palladio

the

at

colonnaded

shows

Lonego,

near

is raised

floor

ground

lantern

side of

upon

platform

executed, the

one-storeyedhouse

porticoset
are

small

very

view

is

above

"

us

building,and

this
not

are

Bagnolo,

at

"

dome

in the

tells

there

hall

the

with

account,

own

Palladio

improvements.

surrounding

rooms

his

to

He

planning
century
In

this

deavoured
encase

a.

COUNTRY
the

de

corps

front

and

kitchens

The

The

roof.
the

the

stables

execution

it differs

design,in

which

mentioned,
House
This

by

of

60

above

the

for

has

or

of the

wings

been

block

main

is carried

of
these

vary

book.

In

Palladio, but

executed

House

at

NOBILI

the square
53

in

to

from

the

the

NlCOLO

feet.

The

LuiGI

AND

type without

on

floor
K

type 5.

side

one

The

another

DE

is

taining
con-

absent.
portion
pro-

dimensions
his

own

have

architect.

Brenta,

FOSCARI."

raised

As

front

favourite

river

measures

of

is very

being

other

feet

elevated

suggests that it may

wings, and

ground

side

storeys, and

"

either

descriptionin

the

is

70

granaries.

of the

originalby

Gambarare,

terior
ex-

Zeno.

floor is-well

the width"

this,Bertotti

the.

and

about

the

columns

many

considerablyfrom
regard

two

up

twice

In

original

Marco

is of

the

Classical

plainlytreated, the usual

The length of the hall is

are

destroyed.

returned,

are

the other

stablingand

which

differently
arranged,

Nobile

the

designs,the ground
The

of

"grotesques," which

colonnades, and

ground.

the

by

out

in the

side

Palladio's

returned

are

in all Palladio's

THE

in

five feet.

apartments.

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

consists

which

been

is

court

crowned

each

on

portico is planned,

carried

Casalto

at

steward's

considerably from
the

execution)

granaries

colonnade, behind

decoration

not

in

is raised

the

with

structure

whole

quadrant

the

and

towards

was

and

as
a

second

interior

the

while

have

and

staircase

basement

formed

are

the

pediment;

principalfloor

in the

are

block

arranged

and
The

roof.

wings

main

square

entablature

hipped

65

one-storeyed
portico (this last omitted
a

Ionic

rear

supporting
with

logis is

HOUSES

for

This
about

about

is of

73

feet

12

feet

ANDREA

66
6

inches, the

bedrooms.

PALLADIO

kitchens

being placed under,

of

Flights

steps, front
and

centrally placed portico

The

shows

plan

ends.

This

of the

of many

houses

in

House

Maser

at

straightarcaded

the

feet

in

the

first floor
in Plate

No.
of

many

shows

of the weak

which"

this, as

Ionic

columns

unusual

capitalsare

had

noticed

in
In

Rome.

feet

is level

The

front

the

small

centre

ornamented
and

basin

of

through

the

of

merely

the
also

of

harmonizing

or

drawings

own

also

view

shows

Ionic

form

which

an

window.
Palladio

Fortuna

courtyard

Ionic

the

front, with

the

of

circular

as

central

which

of

is

chimneys,

and

festoons, and

view

country architecture,

cornice

with

with

designs, and

grouping

the back

English

idea

good

very

appear

diameter)

angular

kitchen

b-ack

This

of broken

of the

sculptured cornices
is

in

side,

the

describing the Temple

recess

recess

shown.

are

and
280

of Palladio's

most

has

each

on

about

Italian

at

and

mound,

treatment

attempt

Barbero

of

country

cases,

In

arrangement

The

at

many

any

(3

gives

ineffective

stacks

at

master's

the architecture.

chimney

no

portico)

mentioned

stable

building.

points of

in

flue-pipeswithout
with

and

even

the

extent

an

and

our

and

poor

in

forerunner

storeys in height, with

with

main

30,

setting of
viz., the

the

backwards

courtyard

the

of

on

two

rooms

forms
The

length.

of

returned

main

whole

The

one

circular

Daniele

erected

was

wings,

connecting

given

is not

Monsignore

block

advancing

wings.

curiously it

for

This

"

central

having

work.

(Plates 29, 30).

and

; but

order.

being

interestingas

to

Ionic

eighteenth-century (or pediment

England

in Bertotti's

is

example

of the

of them

staircases,one

two

are

back, lead

and

pediment

above

and

is

Virilis
a

circular
semi-

pilasters,statues,

in the

running

centre
water

of this
passes

t r

;" (
i
X

I -c "ftj

"

/"*

"

COUNTRY
into

lake ; from

of the

portions
with

the

rear

give

on

to

those

to

Plate

than

staircases

of

columned

distance

hall

of 30

rooms

The

hall
from

Nobile

close

too

cruciform

is of
the

(see

arcades

Francisco

unusual, consists

The

front
Ionic

Doric

the

of

niches

Alessandro
that
death.

Bertotti

in this
Doric

case

and

house
be

one

has

whereas

are

elevation
in

deals
Ionic

with

most
at

in

the facade

into three

is ornamented

he

sufficient

of

length
in

about
Palladio's

his

to

bases.

with
this

the

treatise

Four

Palladio
his

by
tions
men-

client's

book

few

to

have

thought

his

designs,

the

sections

and
deficiency,

proportions

facade.

one-fourth

the

Seasons

explain

up

Doric

; neither

to

was

parts.

with

the

seems

made

cases

columns
are

the

Sansovino.

given ;

at

containing
main
building

peculiar plan

in

two

building,

This

regrettedthat

houses

main

unfinished, owing

was

side,

structures

statues

of

taining
con-

staircases

newel

pedestals having

pupil

entablatures

column,

Ionic

Vittoria, a
this

either

of the

central

square,

their entablatures

contain

country
and

with

porch

It is to

plan

cut

building

the

nor

the

sides

oblong

two

streets

half columns

in

both

Pisani.

of

feet

on

elliptical
open

first floor level.

main

80

rooms

floor ; connected

two

the

columns

of his

two

with

feet,are

because

necessary

the

is

On

each

on

by galleriesat

but

somewhat

for

of the house.

rear

three

perhaps
entered

this,which

storeys in height and

and

it is level

of this storey which

(the only part completed) about

a

is of

design

windows

are

are

different

to

doubt, because

no

The

Montagnana

at

plan

block

at

by pipes

29).

The

the

led

beneath.

floor

67

first floor of this

usual,

courtyard

the

the

House
"

the

it is

The

courtyard.

of

plan, and

whence

house.

importance

more

HOUSES

the

He

finds

height

one-fourth

of

is

the
that

of

the

given

68

ANDREA
the

as

entablature.

from

Palladio's
In

storey.
and

House
This

bears

the

of

each

last

the

the

On

The

of

the
is

central

has

four

about
central
are

35

feet

wide,

The

of

the

returned

wine-pressesand

In

feet

by

in

wings

stabling.

with

and
were

ment.
pedi-

niches.

leading
angular

This

from
the

ing
build-

Palladio's

rooms.

Trevigi)

and

originaldesign this

75 feet,with
front

from

to

On

Corinthian
to

etc.

proportion of length

single flights.

Ionic

hall

Venice

the

extending

and

singleroom

The

proportionsof

"

100

staircase

colonnades

upper

bedrooms,

in execution

(between

Mocenigo.
about

double

the

the

entablature

columns

has

the

two-storeyed

building are

which

to

feet

70

grouped

pedestals,

Ionic

varied

much

block

is

facade

main

about

are

only partlyvaulted.

Morocco

Leonardo

for

which

portion

portico

open

block

quirements.
re-

Cornaro.

central

kitchens, servants'

description,
especiallyin
at

an

central

six, has semicircular

very

the

to

its

to

Giorgio

it has

each

this apartment,

been

according

Ionic, without

for

five to

House

of

each

in

general guidance,

Nobile

hall, around

colonnade

as

treated

that

result

to

features

for

sort

the

side of the

floor

volutes, and

has

for

for the

Palladio, like all sensible

pedestals,supporting

used

to width

be

centre

either

the

to

lower

on

ground

from

case

columned

Corinthian,

annexes,

this

It consists

In

portico ;

of

design, except

with

rooms.

that

strikingresemblance

facade.

square,

shows

Piombino

at

these

equalize

to

rules

each

one-fifth

Doric, and

similarityis supposed

desire

realityit

allowed

for the

The

made

only

men,

"

height

correct

Ionic

PALLADIO

contain

has

large hall
back, with
the

order
the

facade
posed.
super-

offices,

COUNTRY

According
be used

while

servants,

the

scheme

has
been

been

being

more

refers

to

three
in

it

from

and

is

about

central

block

kitchen

and

offices.

lays great stress

arcades, people
true, but

when

results

of

place in

House
ceno.

block

"

about
the

is

raised,

In

can

his

the

on

go

in dark
a

resist

to

with

square,

is

unusual

is of

It

quakes.
earth-

This

"

without

out

as

Bertotti

it is somewhat
carried

fact

much

the

type

3,

straightwings

grey

is
70

everywhere
into

covered

shelter.
the

England

sunless

the

to

under

Palladio

This

is

system

of

which

rooms

quite

are

climate.

for

of

the

feet

by

45

Nobile

the

type

usual, about

approached by

the house

that, owing

in

returned

stores.

feet from

flightof steps.

Biagio

plan, having

feet,with

kitchens, stablingand
as

criticised

Emo.

descriptionof

and

Final

at

This

feet

70

able

less

ideas.

own

introduced

arcades
out

been

practice,

consistingof apartments, in front of which

The
buildings are one
storey in height,the
in which
the
are
having a high basement

arcade.

an

have

to

it would

buildings.

Leonardo

for

original

arrangement

much

town

being

the

usual

unusual

been

with

Palladio's

side

has

It

to

was

master's

completed

Palladio's

to

Castel-Franco,

seems

block

either

on

contrast

the
of

portion
if

floor

granaries and

contained

but

out,

Panzolo

at

central

carried

harmony

departure from
a

for

small

curiously,as

miles

plan

above

storeys

very

house.

in

House

ground

storeys in height,a very

country

marked

in

for it is four
for

mezzanines

69

the

designs

upper

Only

apartments.
have

Palladio's

to

cellars,the

as

HOUSES

The

The
the

Sarraa

wings,
ground

ground,

central

central
taining
con-

floor

and

is

portion only

ANDREA

70
of the
and

design

"four

above
the

the

of

and

them

central

It

in

storeys

serving

square,

above

granaries are
that

side

one

in

service

whose

central

block

and

of

lower

yard

and

central

three

sides

with

the

and

the

below

are

is

building on

round

building.
as

This

"

It consists

main

been

house

Pogliana.

cellars

is utilized

ments.
apart-

design has

inter- communication

the

under

Gothic

colonnades

The

the

master.

our

height, with

out-houses.

and

the

Vicenza.

for

the

14 feet above

of the

Conte

are

of which

towards

and

old

an

by

for

from

side

storeys in height above

of

rooms

side, beyond which

stabling

Palladio
the

tions
men-

other

as

garden.
is usual

As
block
are

and

has

been

Anselino

the

in

our

master's

executed, and
The

wanting.

Bartholomeo
to

the site of

twenty miles
two

kitchen

is two

Pogliana

at

building

the

apparentlyadded

House

about

be

portion only

two

the

flightof steps having

block

on

was

existed, and

over

Ragona.

off, returned
to

was

to

small

portico were

floor

central

completed.

of

extending

Girolamo

from

square,

branched

entrance

the basement.

each

and

basement,

granary

Signor

approached by

The

situated

feet

55

ground

ground,

walls

the

type 5 in plan, consisting originally

have

to

The

is

for

of the

block

were

front.

in

placed

are

Ghizzole

at

is also

wings

cellars

portico,hall

house.

central

executed, consistingof

principalapartments

whole

This

been

rooms

House
"

has

PALLADIO

house

Canera,

was

designs, only
two

even

adorned

painters

of

Rodolfi, sculptor of the

elevation

the

usual

portico

is

the

apartments

by

Bernardino

Verona,
same

and

place.

absent, its

central
of this
India
also

In

by

regard
place being

COUNTRY
taken

three

by

similar

the

in

them

two-thirds

designs

in every

not

the

the

this instance
four

parts,
each

one

facades

length of

the

for

the

smaller

are

the

them

portico has
and

one

being

rooms

and

two

one-sixth
Palladio's

in

proportion,

but

for fear of wearying

also

arranged similarly; in
corps de logis is divided into

portion containing

the

for

employed

are

portions
pro-

length of

arithmetical

rooms

The

hall

apartments

dealt with

of which

two

; the

is

render

to

as

the

c/?

very

brothers

Bertotti.

to

large rooms

the

some

case

The

reader.

of

have

high

so

height,viz.,one

same

principal floor

times, and

width

the

by

follows

as

; the

Most

to

appear

have

we

width.-

the

times

are

their
the

have

being

one-third

times

All

square.

rooms

its width

times

one-third

and

and

of two

length

stairs

in

portico,hall,six

according

of the various
a

of

consists

uncomfortable

very

The

eighteenth century.

staircases, the

two

arches,

frequently used

so

six feet and

raised about
and

that

to

71

double

openings, having

manner

Adam

HOUSES

the

portico and

window

on

each

side.

House

Liziera,

at

Francesco

Valmarana.

consistingof
the

on

Ionic

and

reached
and

rear

with

as

to

of

the

85 feet by 65 feet,with

two

in

storeys

observe
but

he

an

type

1,

porticoes
the

height ;
staircases

Four

that
does

attic

this

"

N.

N."

correspond

have

over

Palladio

scarcelycommenced.

designs were
they think

is

were

lower
be

to

the

columns, and

completed,

Leoni, and

this

Giovanni

porticoes,these latter giving on to a

a portico
courtyard. Only the hall, two rooms,

front

It is curious

Signor

for

plan

Corinthian.

upper

through

Ionic

back,

and

the

In

"

block, about

front

Vicenza,

near

in

been

executed.

talks of this
other
The

building

where

cases,

architects

Bertotti,

have

all

published drawings

with

the

originalideas

of

his

which

Palladio

ANDREA

72
these

as

considerably

vary

discuss

Meledo

at

Ludovico

The

5.

returned

by

has

has

placed there

because

prospect."

Palladio

circular
execution

these

This

which

the

and

porticoforming
buildings are
itself."

have

generality of

omitted

The

of

been

The

be about

120

about

feet

has

face,
fine

very

"

as

fine,

very

midst

The

on

to

of

means

of the

offices

lightthe

the

to

The

the

central
in

kitchens,

in the basement

plans, were

are

but

group,

omitted.

of

house

some

farm

cupola crowning

fine terminal
been

40

each

on

porticoby

windows

three

Signor

for

and

parts of
same

order

angle porticoesto

different
The

designs.

series

of

that

that

the front

block

fronted

so

of
of

the

the

the

"

intentions

centre

rooms

square,
with

Repeta.

Marco

designed with

Palladio's

instead

the

is

granaries and

are

roof.

Campiglia
to

Rotonda,"

little river,in the

lower

types

staircases.

great improvement

have

smaller

and

order

the

contain
a

"

well-frequented road."

the

to

in

at

appears

the

hall

its situation

by

from

forms

granariesin
House

was

on

to

front of the house

describes

windows

usually seen

the

Corinthian

usual
un-

front of these

was

rooms

proximity thereto.

hall,and

In

an

of

the

circular

various

every

intended

was

combination

block

central

"

away

plans, in

in immediate

to

the

quadrant galleries;

smaller

as

hill that's washed

is set well

whole

to

and

is of

plan

resembles

main

by

spacious plain and

proper

The

wings.

portico of

on

block

Francesco

The

quadrant wings.

surrounded

columned

the

importance

no

Conti

the

kind, being

feet,and

90

in diameter

of

"

central

Vicenza, and

being

is

(Plate 31).

ambitious

1, 4, and

feet

for

Trissini

de

and

other

it

them.

House

near

PALLADIO

on

"farm

master's

house

are

31.

HOUSE

AT

MELEDO.

COUNTRY

peculiar, and
dedicated

etc., "with
These

the

are

so

to

HOUSES

and

eulogiums

each

chambers,

virtue

one

Justice, Charity,

"

picturesappropriate
Battista

painted by

were

divers

particular

some

73

Maganza,

each."

to

Vicentine

painter.
When

Bertotti

burnt, and

been

visited

found

place he

building erected

new

the

in

it had

that

quite a

different

character.

House
Teodoro
block

Cigogna

at

Thiene.

de

with

usual, and

either
the

side.

The

and

the

front

the columns

porticoes;

with

entablature

thus

in Palladio's

he

begun during his lifetime,but

progressed very slowly, for when

the

of

that

it,as

only

that

even

shown

without

of the side

one

of

was

different

in Palladio's

House
Conte

Giacomo

type 5, but

with

forms

admirable

the

most

to

to

is

that

it

have

visited
make

it, he

nothing

erected, and

been

proportion

is another

Palladio's

and

of the

to

the

Palladio
L

for

that

"

and

garden being
attaches

the
so

plan

or

yard

within

of
It

courts.

the court

from

the

unexecuted

book, it has

colonnades

yet well away

which

Brenta),

the

arrangement,

country necessaries
colonnades

(near

additional

distance, and
The

and

design

Angarano,

designs. According
a

clearlystates
building must

had

It

turrets.

as

could

arcades

rooms

plan.

Angarano

at

angle

Bertotti

plans, he

the

as

Corinthian

have

The

up

book, and

mentions

raised

storeys in height and

two

pediment.

was

and

cellars

is well

facades

back

carried

are

with

floor

ground

and

and

type 4 in plan, viz.,a central

extending

terminating the facade

shown

Eduardo

quadrant wings, connecting

granarieson

crowned

It is of

"

Conti

the

for

for

venient
con-

house

proper."

much

import-

PALLADIO

ANDREA

74
in

ance

country houses, for the

part under
The

central

Corinthian

block

columns,

entablature
this

about

and

feet

65

each

reaching
in this

overdone

rather

perhaps

are

cover,

of

purpose

has

square

case.

attached

storeys in height,surmounted

two

Palladio

Although

pediment.

by

mentions

begun, yet apparentlyonly a few

columns
were
actuallyerected, and the house which
architect
was
designed by Dominique Marguti, an

exists

died

life of

having

as

in Venice

Palladio

situated

about

for it has

as

river

executed.

types

of

ill defined

will

fact that

the

this
unfortunate

been

interior
"

is

on

have
that

so

were

in imitation

Vitruvius,

Book

VI.,

with

that
to

The

main

of the

by

court,

of

the

the

is

use

book, but

has

of

any

into the

all sides.

these

plan

and

symmetrical disposition.

He

principalstairs, owing

the

"

only

serves

servants."

for

portion

the
be

fine,

entrance

colonnades

the

entrances

Greek

Chapter

custom

X.

"

in

of

for wardrobes,

to
as

which

tioned,
men-

it

seems

master's

our

of it has
on

to

before

As

little information
small

He

portion

magnificent scale, and

so

surmised
court

no

lodgings

plan

and

are

small

The

part of the house

upper

we

intentions

their

of

one

pretty large branch

colonnade

on

is

is very

situation

Only

Palladio's

in

there

stores, and

visitors

and

This

"

regard to plan.

correspond

not

Doric

indicate

that

mentions

the

does

It

in

the

"

side

Thiene.

Vicenza, and

other."

by buildings

are

It has

adds,

one

the

hexastyle

surrounded

section

from
efforts

on

on

Ottavo

plan previously mentioned.

of

rooms

miles

palace,and

been

means

five

the Tessina

same

Conte

for

monumental

most

refers to it

the

who

in his

according to Temanza,

Quinto

at

Palladio's

of

in 1721,

Doric

(p.367).

House
is

been

been

either
the

built.
side

house

mentioned

they

of
for

by
lived

COUNTRY
their hosts, and

apart

from

them

during
House

It

of

in 1540.

the

ground,

the

kitchen

The

have
courts

either

on

and

stabling

of

example

decorated

was

del

House

yet another

of

drawings.
viz., an

In

open

columns

which

nearly

for the

Ionic

are

their

shafts,

nice and

plain and
on

and

works

storeys of

as

finished

natural

seems

works

ones."

pilastersattached

to

Battista

the
in

is
his

surrounded

behind,

rooms

the

lower

of

stabling,etc.
are

country

a
so

this

front

In

true

first floor
the

and

is of type

plan

form,

not

Antonio

differingfrom

become

bear
The

has

house

Verona,

storeys, and

two
to

The

Marc

family apartments.

"

being

he

Padoano,

from

five miles

include

poor

fact of its

Conte

for

general arrangement
court, quadrangular
two

very

pediment.

projectingwings containing

two

to

Sophia

the

Venetiano.

uncompleted

colonnade, with

being reserved

as

his

Battista

to

other

are

in which

Gualterio

"

and

grouped

are

instance

portico and

original

designed

be

the

to

been

basement

there

facades

an

painters

Santa

at

is situated

Sarego,

as

three

It is

Verona, and

of

Moro,

the usual

by

The

the

was

to

were

genius, due

master's

our

the

itself,and

to

some

as

15 feet above

from

block

main

near

feet ; this has

in

which

outbuildings.

dispensed with

are

side, around

early effort perhaps.

an

This

or

about

55

are

Godi.

de

1542,

deviations

courtyard

entrance

an

by

cellars

above.

granariesare

feet

no

and

in

is raised

shows

and

entirelycompleted
design.

to

is situated

type, and

block

is about

Girolamo

Palladio

by

central

and

Signor

ambitious

an

The

say

accorded

complete libertywas

for

erected

was

75

sojourn.

Lonedo

is also

river.

their

at

This

"

HOUSES

by
part
this
The

rusticated

house,

to

resemblance

are
galleries

sides

2,

of the

ported
supIonic

PALLADIO

ANDREA

76
columns,

in

as

balustrade

of

some

master's

our

the

placed between

is

designs ;

town

columns

first floor

the

at

while

level.

House
is

the
of

design,this
block

the

is

Palladio's

book

as

describing

them

he goes

the

ancients, referring

Vitruvius.
suited
carried

out

reader

to

might

then

He

do

we

situations," but

block

central

for

it

because

brothers

the
would

followed

was

Adam

and

undoubtedly

country

palaces.

treatment

of the

There
which

are

totti's book

ten

are

often
and

England

by

other

Bertotti

other

attributed
may

be

Leonardo

by

adds

at

and

quadrants

section

to

dependencies,
Hall

Kedlestone

of

one

Mocenigo,

four

by

If executed

architects.

formed

not

were

them, but refer the

stabling

in

have

interior

Signor

connected
the

angle blocks, containing

of

leaving the subject,we

Before

design

of

tions
inven-

"

of

these

as

describe

to

book.

the

mention

intend

not

After

instructions

give draughts

to

in

houses

country

and

remarks

proceeds

Palladio's

consisting of

the

to

the

was

all mentioned

partly erected.

or

discuss

to

on

different

to

erected

being

It

all sides.

on

foregoing country-house designs are

The

two-

in front.

roof

hipped

It is

being separate.

columns

Ionic

with

crowned

be

to

and

Doric

part of

form

to

by 65 feet, with

feet

80

I, about

type

buildings

of their

example

an

storeyedportico of
intended

farm

stabling and

the

usually

Palladio

Although

design.

Sarego,

Annibale

Conte

the

for

unfinished

yet another

grouped

Miga

La

at

Palladio's
which

it

finest

shows

the

courtyard.
houses
to

him.

not

mentioned
These

brieflyreferred

to

are

by

Palladio

given

here.

in Ber-

HOUSES

COUNTRY
House

The

is of

Cerato,

Pietro

Montecchio

at

type

77

Precalzin,

regards plan, and has a

the ground and
feet above

as

principalfloor,raised about 8
approached by an external staircase.
consisting of
and

hall, three

badly-planned

Signor

for

and

large rooms

staircase

usual

It is of the

leading

plan,

small

one

one,

the

granaries in

to

roof.
kitchens

The

Externally
the walls

House

The

without

angle

house

and

by

carried

altered

instructed

having

the

into

him

belonging

similar

to

type, but

not

site, and

destroy

more

it is

the present
to

The

towers.

as

up

this

pedimented

only partly built.

was

originally occupied

Palladio

has

Precalzin,

It

ment.
base-

cornice.

Schio, is of

shown,

are

that
Count

crowned

are

the

placed in

are

franklyexpressed,the

are

columns

Tornieri

rooms

ancient

floors

projecting porch.

offices

Montecchio

at

Contessa

the

the three

is without

projectingporch
top, while

servants'

and

lieved
bethe

shape,
the

ancient

walls.

House

Criccoli

at

is

generally quoted

to

have

been

describes

it

restored

as

only eighteen

it

in the

lightof

we

to

are

age

at

plan
facade

this

the

building is

being

Corinthian

Some

in two

of

that

this

design.

work, and

was

This

chronology, does
date

type

was

this
1, the

storeys and

pilasters.

This

"

appears

previous building.

Gualdo, Palladio

time.

Trissino.

Bertotti

1536, remarking that Palladio

his

recent

more

believe

to

in

not

was

first

master's

old, and

years

Conti

the

our

alteration

an

that

as

for

for presuming

reason

reason,
not

however,
exist,as, if

twenty-eight

building
central

ornamented

as

years

1534.

portion
with

was

of

Ionic

of
In

the
and

The

House

is also

and

this

stables
is about

case

floor has
the

erected

the

time.

one

the

in

rusticated

as

House

During

Bertotti's

relates

this

of
It had

being

in

from

three

having

is

House

plan.

unusual

an

two

miles

It has

from

an

The

with

condition, and
had
been

difficulty
to the

done
made

are

on

up

about

farm

the

buildings

Doric

portico

attic of windows

"

porticoes,
Ionic, and

is

with

crowned

treatment.

Bertesina

at

bases.

no

by

frescoes

scattered

storeys, the stabling and

its entablature

pediment,

drawings

wings

openings

Bissari.

he

had

members

separate disconnected

columns

is about

various

storeys,

the

has

ruinous

great damage
His

three

Conte

the

in

all

not

was

Jules Carpioni.

inundations,

in consequence.

site.

to

that

it

to

orders, however,

no

interior
and

"

alteration

building and

The

was

to

principal

order, those

an

that

are

for

that, owing

in

Caldogno.

plan, of

in

Fafolo

this

time

Ionic

probably

indicate

arcades.

measuring it,and

account

is

in the

back

provided

The

height.

Pietro

There

way.

also

are

ground

ground storey

of the

type

Retorgole

at

building

over

set

in

Signor

traces

Caliari, Jean Antoine

Paul

the

usual

The

of

near

order.

1570, and

It is of

porticobeing

formed

Doric

for

existing building,as

utilized

in

of the

in

wings

columns

Caldogno

at

was

four

It is

consists

etc.

feet 6 inches

10

wings being

built at

he

outhouses,

Tornieri,

Palladio.

by

Side

attics.

Conte

the

and

Verona,

to

portico of

House
This

and

for

restoration

and

principal floor

for the

an

be

to

road

the

on

Vicenza,

near

supposed

Vicenza,

to

PALLADIO

ANDREA

78

for

Vicenza, and

large vestibule

Marcello.

Signor

in

is of type
the

centre

"

This

in

regard

of

one

side,

COUNTRY

and

hall, cruciform

usual
and

the

that

it is Palladio's

with

is

Foscari,

an

steps

each

on

does

not

Bertotti
of the
in

1778

and

doubt

not

master

it

that

the

refers

the

to

the

none

appears

it is very

to

others, and

The

type.

ground

design, contains
of about

the

eleven

are

at the

House

back, and

at

is also of

type

principalfloor
and

attic

wings.
genuine,

over

St.

Internally

while

Although
Bertotti

usual

having
with
niches

with

its

"

the

height

has, behind

vaulted

hall, half

side

of this hall is

for

for

The

N."

authenticity.

its
a

staircases

granaries, etc.
Signor

Nolin,

basement

on
pilasters

statues

N.

of

internal

an

the usual

Ionic

and

Temanza
doubts

Padua,

near

basement

vaulted.

are

three-storey

first floor

attic is utilized

ornamented
;

edition.

is of the

principalor

plan, and

territory.

in Leoni's

has

Croce,

which

Palladio's

kitchens, etc., and

the

Life

it differs little from

all of which

rooms,

"

nobility,

Venetian

in

projectingportico, the cruciform

length forming the height,and on each
of three

work, yet

work

the Venetian

of

the

set

Palladio

in his

the

as

the

The

flightof

that

in his

with

Sculptors," published

storey, forming

feet.

plan,

on

Temanza,

first executed
fact that

Francesco

observe

house

notice

evidence

external

an

and

offices,

pedestals.

building

this

to

design,although
similar

type

it is his.

Architects

to

was

this

refers

Venice,

our

that

Bertotti

mention

the

no

Signor

to

is the

unusual, the walls

is

for

It is curious

to

is

pilasterson

by

celebrated

at

brought

Corinthian

portico, reached

appear

most

facade

The

of

side.

does

There

important design

projecting Ionic

There

deep, containing

Malcontenta,

at

other.

is vaulted.

design.

being ornamented
House

feet

79

the

plan, on

floor

principal

The

in

about

basement,

HOUSES

storey,

pedestals,
the

ornament

believe

it to

be

So

PALLADIO

ANDREA

for

House
Conte

the

in
the

doubts

the

The

of

An

with
attics

floor,

in

occupied

front
and

as

an

this

on

usual.

with

Bertotti

staircases.

Road

Jacopo

block

pediment

part
counter-

Malcontenta,

at

High

the

Signor

which

exact

design.

leads,
is

an

over.

between

is

Foscarini,

by

surrounded

staircase
of

Vicenza,

from

almost

house

arranged

central

external

entablature
are

for

viz.,

plan,

colonnades.

principal

of

Stra,

at

Venice,

and

in

differently

miles

is

the

of

authenticity

House

Padua

elevation

and

plan

five

Porto,

Horatio

exception

type

Vancimuglio,

at

external
The

as

usual,
Ionic

basement

of

quadrant
to

the

portico,
and

32.

IL

REDENTORE,
PLAN.

VENICE.

CHAPTER

VII

CHURCHES

PALLADIO'S
in
and

Rome

raised

fabric,

be

is to
and

gracious

such

in

the

diligence

utmost

with

other

be

much

in

the

latter

to

capable

former

they
of

greatness

their

ought

find

of

in

the

that

have

in

the

have

the

most

and
the

praised

and

are

best

for
us.

upon

the

use

excellent

architects,

certainly

obliged

to

is

manner

houses,

of

regard

all

thanked

churches

convenience,

be

of

giver

bestows

own

and

same

any

the

their

aim

upon

wherein

building

principal

out

in

they

buildings

least

and

skilful

out

workmen,

to

Him

be

this

to

the

Creator

in

this, without

continually

building

of

should

it

temples

us

He

as

diligent

more

by

preface

laid

parts

the

God,

permit,

may

favours

men,

its

those

be

to

are

those

adored

be

to

manifold
if

in

his

follows

proportion,

practised

abilities

our

For

and

In

denced
evi-

are

of

treats

importance

as

all

in

all-powerful

things, ought
that

that

symmetry

doubt,

the

on

industry

end

he

Italy.

purposes,

and

the

to

exactest

dwells

devotional

labour

If

in

seen

temples

ancient

IV., wherein

be

he

the

of

Book

to

book

for

"

his

others

particular

studies

the

to

and
in

so

dignity

be

to

invoked

if
the
and
and

worshipped."
In

ancients
the

I.

Chapter
for

various

the

discusses

he

temples

forms

of

hexagonal, octagonal,

to

the
the

temples,
cruciform,
M

situation

various
as

and

gods

chosen
;

Chapter

the
II.

quadrangular,

circular,
refers

in

by

to

the

fact

that

ANDREA

82

Vitruvius

only

PALLADIO
those

discusses

of circular

and

quadrangular

form.
then

He
because

speaks strongly in

it is

strong and

alone

"

distant

most

and

uniformity
is referred
this

to

cross

the

cruciform

Saviour

by Palladio,

the church

myself

infinite

unity,
The

which

commendable

as

I built

form

the

of S.

part

is, therefore, the

; it

centre

God."

on

in every

extreme

show

to

justice of

the

representing

the

from

figure

proper

shape,

figuressimple, uniform, equal,

the

capacious

most

being equally

all

among

of the circular

favour

plan,

as

crucified,

was

who

essence,

"

says,

In

Giorgio Maggiore

in Venice."
of the

III. treats

Chapter

temples, according
columns, viz.
antis

In

2.

Prostyle

J-Without

3.

Amphi-prostyle

4.

Peripteral

5.

Dipteral

6.

Pseudodipteral

7.

Hypaethral

With

refers

IV.

the

to

diameters.

Eustyle,

2|

Diastyle,

and

circular

or

the

method

of

spacing

the

inter-

,,

than

refers to the
V.

porticoes.

,,

Araeostyle,more
Chapter

porticoes.

Systyle,

temples

their I

of

diameter.

In

disposition

of rectangular

Pycnostyle, i|

master

kinds

columniations, viz.

Our

the

to

i.

Chapter

different

seven

3 diameters.

Eustyle

Palladio

deals

proportions

quadrangular, and

treatment

with

used

the

in the

refers

to

as

the best.

compartments
ancient
the

fact

of

examples,
that

the

33-

'I-

REDENTORE,
FRONT

VIEW.

VENICE,

34-

II.

REDENTORE,

FRONT

ELEVATION.

VENICE.

35-

IL

REDENTORE,
SECTION.

VENICE.

CHURCHES
churches

of his time

building,and

he

the

gives

being enlightenedby
accustomed
of

to

was

this

basilican

sacristy or

vestry

which

are

bells

and
.

in

temples

mostly

which

at

the

instructions

twice

in

the

The

height of
the

in
the

having
of

plan

its

the

"

offices."
the several
Palladio

been

on

length.

base

base.

be

arches

brought

dome
The

from

Venice, and

in

of

of which
side

of

dome

to

the

sanctuary,

circle

ground
at

the

Palladio's

idea, and

which

chapels.
the

three

the

chapels
is

crossing,

and

nave

On

form

which

nave,

crowns

crated
conse-

which

are

defining the

was

city from

it is in

the

"

church

of

that

the

1576.

number

seen

arm

each

Giudecca,

devotional

provide

long

four

the

the

35).

La

design

to

and

34

deliverance
town

were

in turn.

33,

of
of

design

to

each

Republic

it will

aisles

its width

and

to

in the

the

on

have

him

cross,

supported

width

fit

steeples, in

which

upon

island

the

expressly

induced

Latin

added

describe

elsewhere

called

for the

to

seem

to

is

divine

to

this book

the

ravaged

represent

formed

this

thought

and

(Plates 32,

on

Redeemer

which

plague

people

was

of the

expense

the

reference

basilicas
that

not

there

will describe

we

built

probably

he

Venice

Redentore,

should

have

towers

Italyand

Rome,

church, situated

of

then

call the

to

This

the

in the

Venice, and

at

to

who,

measured.

churches

The

first

afterwards

they

he' says

plan

hung

assiduously

Il

remaining chapters in

ancient
had

the

were
religion,

our

observing

commodious,

inside

the

meet

to

justice

it since."

change

The

"That

reason,

Gentiles

halls of

placed

truth, embraced

where,

persons,

very

To

his

as

the

like the

porticoes were

for fear of the

private

form

built very

were

basilicas,in which

or

83

aisles,

by pendentives.
is

2TV times

south

end

of

the
the

ANDREA

PALLADIO

semicircular

screen

84

building, has

and

contains

the

also

of semicircular

of Corinthian

Behind

form.

the

choir, severely plain,agreeing in

The

ideas.

half

Corinthian

of

coupled

between

them.

The

and

rest

the

their

brickwork,

placed

and

rises

the

main

Arches

chapel aisle

between

semicircular

are

Corinthian

rather

is

more

with
the

entablature

vault
semi-elliptical

nave.

are

are

this

of

to

of

is

is

65

feet

semicircular

form

in order

walls

an

arch

vault, which

nave

and

columns

is crowned

chapel

the

of

from

in this

in the

lower

height

vault, corresponding with

lighting the

arches

chapels

order

an

niches

two

openings

Each

height

inches, and

10

width.

The

nave.

side

these

of

height

semicircular

internal

in

impost mouldings supported by

The

twice

have

the

Capuchin

by

these

height ;

are

placed

with

ornamented

are

and

the

to

is

screen

treatment

of their

chapels

arches

upon

pilasters.
than

the

transepts

io| diameters

columns,

one-fifth

entablature

with

interior

of the

walls

the

while

principal altar,

columns

also

are

lightthese

to

portions.
The

has

facade

main

the interior
the

angle

ones

an

entablature

is

and
This
is
as

the

one-fifth
The

is raised

managed
the

nave

side

the

inner

door

pediment, and

ones

column

the
a

upon

same

half

are

diameters
in

On

are

either

designed

as

side

Half

of
are

the

columns

height,over

which

are

the

diminished,
the

church

also

carried

the

and

same

support

round

the

columns.

height of

the

of

wings,

of this

columns,
support

as

stylobate,in

pressing
ex-

high, and

manner

pilastersspringing from

principalorder.
central

Composite columns,

principal flightof steps, which

chapels

Corinthian

in

plan.

on

of the

of

pilastersthroughout

entasis

an

order

; the

nave

pilastersio|

are

pediment.
have

order

is

which
wide

as

central

space

ornamented
same

with

level
order

as

flank

entablature
lateral facades.

the
the
and

36.

S. GIORGIO

MACGIORE,
I'l.AN.

VENICE.

CHURCHES
either

On

flanked

statues,

feet

75

of

by

The

pediment.
and

side

central

doorway

central

part of the

The

interior

dome

the side

of Istrian

are

the

resist

to

of this

entablature
is

and

feet wide

63

windows

of

the

that

of

the

and

S.

bases,

separating
tresses
but-

forming

vault.

nave

of

doors, and

the walls

of masonry,

masses

with

brick, while

Above

pressure

facade

facade

of

are

stone.

taken

chapels are

for

walls, vaults, chapels, leaves

imposts, entablature, dressings to

the facade

niches

are

pilasterssupporting

high.

capitals and

the

85

The

parison
com-

Giorgio Maggiore

is

interesting.
S. Giorgio
differs

Maggiore

principallyin

the side

chapels

and

facade

the

is also
which

the

erected

in the

belonged originallyto

to

their monastery.

position on

end

of

from

the

Grand

which

It

the

about

The

half

that

is

crossing

width.

about

semicircular

twice

ends, and

lead.
the

One

and

nave,

sanctuary

being

bay beyond
and

raised
with

at

this

the

the

point

steps.

niches,

statues

of

eastern

St.

The

Mark,

plan

width, and

the

The

crossing

nave

up

aisles
to

externally of

the
have

transepts
is

is

dome

structed
con-

timber

and

crossing is planned similarlyto

the

chapter-house are
three

attached

was

Piazza

of

width.

and

state.

facing the

feet in

length

brick

Venetian

and

name,

40

its

sanctuary

first church

it is obtained.

nave

over

internallyof

the

1556,

picturesqueness largelyto

own

of

cruciform, consisting of

the

was

Canal, opposite the

splendid view

plan

is dated
of the

Benedictines

of its

"

church

treatment

its

The

38).

taking the place of

capital of

owes

island

an

The

Giorgio Maggiore

It

its

aisles,these

different

S.

adopted.
Palladio

side

in II Redentore.

1610.

and

(Plates 36, 37

The
and

aisles

are

continued

stopped, and
without

the

aisles,

corated
chapter-house is richlydeother

ornamentation.

In

86

ANDREA

the

interior

diameters

in

height,placed

the

Between

the entablature

without

has

much

The

semicircular

are

soffit of these

and

better

columns

not

arches, resting

Corinthian

coupled

arches

pilasters
depth, and

than

appearance

extends

which

of considerable

pilastersis

of two

bolder

walls, these

the

of

(Plate36).

of the smaller

pedestals.

the width

over

the

columns

nave

pilastersioj

pedestals,a quarter

on

II Redentore

in

as

and

of columns

height, ornament

being coupled

on

order

Composite

in

column

PALLADIO

the

thin

arch

in II Redentore.
The
the

proportion

abetter
a

pedestaland

in their turn

depth

has

four

this

of

at

with
of

the

smaller

Corinthian
half

of each

main

on

busts

pediments.

He

of

Temanza,
also

this facade

in 1579, the choir

pedestals

which,

as

are

the
and

are

of

and

height.

formed

pediment

one-third

diameters.

niches

wing.

filled with

flanked
is

by

interior

In

only

the
The
the

the centre
and

urns

by pilasterswith
open
solid.

the architect
of the church

the facade

in

the facade

pilasters,decorates

doorway
added

3 feet in

are

10

each

on

one.

pedestals,which

portion

portion being left

that

external

without

entablature

have

was

the

Redentore, but

order

central

senators,

central

us

of II

the church

to

which

facade

eminent

The

informs

The

pediments

; the semicircular

impost
to

the

The

feet.

plinthabout

The

order

aisles supports

that

supporting

columns,

of

springing,crowns

minor

entrance

plinth.

vault

by raisingthe principalorder

upon

statuary.

height

with

the

half columns

crowned

the

lofty,

brick

Composite, restingon

placed

are

steps

seven

the

width.

to

type

is obtained

is

is somewhat

floor is 70

designing the

order

main

the

similar

very

proportion

The

The

above

height

is of

facade

the

outline, stilted above

Its

nave.

arcades

nave

times

opening being 2}

semicircular

on

of the

up

to

the

According
Scamozzi.
was

pleted
com-

being still unfinished.

CHURCHES
died

Palladio

in the

Church
is isolated

in

differs from
at

Venice.

40

feet,and

the

those

is of the

wide

Palladio

by him,

and

whose

to

of

diameter

of

describes

in

has

interior.
as

two

entablature

and

staircases

From

lantern.
the fourth

vaults,
struck

are

five,as

feet 3

pilastersand
interior

exterior

Corinthian
the

the

entrance.

from

the

in

portico.
three

These

the

as

with

church

facade

centre

is to

pediments.
the

(Plate 40)
2

feet in
columns

are

diameter
has

eight

diameter, supporting
A

dome

by

niches

off,
circular
semi-

segmental

the central

as

high

branch

their

the

crowns

somewhat

crowned

The

by

portion.

flanked

height
six

by

of the

is to

five.

hexagonal portico

diameter, and
are

of

portico in
has

recesses

are

centre

same

the

is reached

through

space

measured

two-thirds

church

inches

intercolumniations

columns
four

the

the

in

Pantheon.

occupied by altars, and

are

crowned

of the

of

the

at

of

from

central

other

four

width

church,

as

been

length

gallery,which

the

being

in

The

to

columns,

proportions

this

of

of the

had

central

length

diameter

course

whole, lightbeing admitted

only

described

and

The

same

circumference

half

circular

the

portico

is

interior

smaller

The

and

lateral arches

of the

which

the

of

length

an

the

already

plan

projectingportico of

church.

two-thirds

Rome,

to

two

the

into

at

Corinthian

walls

The

internal

an

pleted
com-

little church

road.

long

admires

leads

followed

has

diameter

The

In

having

order, with

leading

Pantheon

the

of

type Palladio

flightof steps

portico is nearly

regard

"

was

century.

This

40).

larger churches

the

of

facade

seventeenth

39,

end

the

IV., Chapter II.

doorway

the

the

is circular,

Corinthian

and

(Plates

position at
It

his Book
A

of the

Maser

at

and

following year,

the commencement

at

87

it is

circular, the

of

peculiarthat
outer

ones

ANDREA

88

being
1

The

if diameters.

to

The

plan.

on

square

PALLADIO
inter-columniation
columns

support
The

richly sculptured pediment.

and

but

of

portico

shows

40

condemned

feature

turrets

festoons

the

either

on

Church

side

S.

of

this church

by

it

In

it is

plan
The

lower

and

Ionic

Giudecca, and

employed

were

In

to

Temanza,

easier
above

of

with

columns,

three, the

the

length 77

the

other, the

quarter less in

choir

of the

the

island

design
that

nuns.

This

"

the

on

opinion

little
of

La

is attributed
architects

other

The

churches, having

off,in order, according

cut

circular

Light

continuous
while

in

Venice.

at

angles

the

render

dome.

ever,
Bertotti, how-

over

the above-named

the

construction.

the

restingon
the

to

after his

it.

upon

interior

square

finished

Corinthian,

Bertotti
is of

Temanza

Palladio, but

of

and

one

II Redentore

near

it differs from

plan

inches

aisle is the

according to

Palladio, but

to

upper

Zitelle

Le

of

is situated

church

the

inscription on

is divided

orders,

two

the entrance

Over

Church

has

bell

building.

feet 6

44

An

"

of it was

and

square

capitals,

staircase.

facade, which

older

an

being

interior

one

height.

nearly

width

transverse

feet.

part of

was

columns.

small

two

the work

was

death, including probably the

thinks

small

large part

The

Venice.

at

that

us

Temanza

according to

the

crown

Lucia

informs

critics.

many

six is to

the

between

suspended

is

including steps.

Including the pediment the width is to the height as

The
seven.
stylobateis in height a quarter of the
Plate

from

entablature

an

length

height,excluding pediment

the

equal to

varies

dome, which

is introduced

interior

has

cornices

have

by

Corinthian

pedestal,a quarter
the

is of

of

the

modillions

brick,
lantern

pilasters

height of
in

two

"

"

CHURCHES

faces,

usually reserved

feature

Opposite the entrance

principalaltar.
facade

The

added

been

It has

the

above

is

is

other; coupled
door

central

upper

part by

facade

is crowned

Facade

Sansovino

the

with

angles

so

S.

Francesca

facade

lower

in 1534.

erected

was

his death

After

from

and

portion

side, and
The

in the
whole

Venice.

Vigna,

della

other

one
pilasters,

of the

either

on

the

have

may
many

in the

occupied

windows

interior of this church

The

and

window.
large semicircular
by a singlepediment.

of

containing

of Corinthian

at

order.

Composite

recess

custom

space,

with

the

composition

orders

two

for

square

the

was

leaving a large central

by

weak

very

later,as

churches.

89

the

"

designs of
Giovanni

Monsignore

design for the facade from Palladio, and

it is related that Sansovino's
rejectedfor that of
design was
Sansovino's
It would
be interesting
Palladio.
to see
design,
in 1562),
The
but it is not given by Bertotti.
facade (erected
Grimani

bears

obtained

remarkable
which

giore,to

resemblance
be

it may
it

inferior,
especiallyas
better

Another

great
and

the

subsidiary order

Giorgio Mag-

management

from

at

of the

.11

by startingboth
the

base, the

same

An
on

inferior order
a

continuous

doorways

and

form

of these

base
the

and

window

the

central

columns
ornaments

the

openings.
N

from

principal

treatment

by

at

an

lature
entab-

of the facade.
the

sides

The

too

half columns

feature

starts

Redentore.

the

Giorgio being preferable. Four Corinthian

placed upon projectingpedestals,and crowned
pediment,

it is

orders, for

S.

and

which

to

principal doorway through it, a

is obtained

contrast

but

compared,

being adopted

treatment

fault is in

S.

the
repeats the defect of interrupting

stylobate,by cutting the

much

that of

to

same

level,

of the

entablature

main
to

ANDREA

9o

secondary order

this
of

central

its

times

arched

the

width,

sculpturedstonework,
Design
Petronio

Bologna

at

S.

erected

leave

the

subject of

without

.finishingof
but

they
as

frontispiecefor

"also furnished
the

end

of

the

north

fortysketches

some

fifteenth

to

Romano

(a pupil

Bertotti

the

during
decided

feet.

120

seen

at
we

model

It

In

Peter

at

carried
Palladio

he

posed
pro-

treatment

architects

Other
the

in

workshop

the

if

the

the fourth

of

These

interior

and

in all

Corinthian

about

resting on

pedestalsof

sulted
con-

were

it

114

was

feet to

is also to

be

of the Cathedral

in emulation

its size

third
has

facade

order

others.

how

from
to

Giulio

by

are

church, and

completed,

120

the

in wood.

in 1390,
idea

at

contains

facade, dating from

workshop already referred

Only
and

this

of the

height

for the

out,

can

be

would

imagined
have

of the
remained

feet.
of

two

different

In

two

St.

design has been

uncompleted.

of these

dimensions

height in

when

rivalled

prepared five designs for it,three beings114

height,and
single

the

its area,

Rome.
out

of

tecture
archi-

carried

church, which

century.

progress

Some

that

the

seen

the

in

of the church

Florence.

church

not

were

architects
thirty-five

commenced

was

find

the

designs, but

Raphael), Palladio, Vignola

how

churches

relatingto

of

the

raise

to

aisle

"

S.

of

The

42).

church.

be

may

seventeenth

describes

These

Gothic

designs, as

with

master's

our

showing

filled in

designs he prepared

facade.

interestingas

three

Palladio's

from

the

referringto

the above

are

and

(Plates 41

were

cannot

height of

Church

the

of

already described
we

The

Giorgio.

Facade

the

for

portion being

at

as

has

order

cross.

otherwise

head

semicircular

the main

it meets

it would

shafts

with

doorway

stopped where

is

whose

columns,

PALLADIO

each

is

feet in

designs a
employed,

design.

The

i\

CHURCHES

height of

column

the

and

We

columns.

produce

similar

of

central

extended

No.

all

in

has

of

the

from

starts

of five

cornice

difficultyPalladio

The

applicationof
Both

and

design

of which
the

attic

an

of

and

these

designs

order

main

facade to a Gothic
not
height is the
suffer

from

is

are

ment
pediplaced

the

pierced for

principaldoorway

central

In

broken

the

by

lower

width

side

the

the

aisles

having

half

indicates
whole

and

order

nave

facade

it

over

only

and

is covered

over

the

this

In

to

The

extend
two

the

latter.

upper

The
with

the

shown

the whole

and

nave

is

design

orders

Ionic, as

or

was

is crowned
with

the

order

lower

three

into

Doric

chapels.

extends

pediments

the

the

doorway.

either

preserve

one.

of

height

to

facade, of which

the

the

Palladio's

doorway.

order, considerably less

Corinthian

intermediate

be

to

this

centre, and

of the

of nave,
of

divided

intended

he

one

either

of

In

stylobateof

the

instructions

cornice

main

pediment

has

master

our

the

consequence,

the

was

characteristic.

chief

been

have

to

appears

with

structure.

having

due
to
design (Plate41) was
certain features alreadyexistingin

The

side,
these

The

No.

contending

was

third

The

each

on

front

classic

breadth

former

are

this

in

indicated

design

In

but

facade.

in
pilasters,

main

churches,

this.

over

on

to

ing
divisions, consist-

has

this

for

pediment.

endeavour

Vigna,

Palladio

chapels.
designs

by

the

aisles,beyond which,

attic of small

an

della

interior

an

two

his

statues, crowned

the

with

his

latures
entab-

between

through
of

lature
entab-

The

of his Venetian

Francesca

S.

nave,

series

divisions

of

to deal

he had

to that

the

case,

position.

traces

see

can

in

carried

are

treatment

that

especiallyto
case

order

smaller

each

in

same

varied

pedestalsbeing

of the
main

is the

91

in

storeys

height.

aisles

upper
a

only,
storey

pediment.

pedimented niches, giving

ANDREA

92
rich

similar

Palladio

with
The

Both

Algarottiand

all the

Temanza

in this

Gothic

design

architectural

"

among

with

connection

has

architect

the

the

of

them."

include

of

wings

this

3, but

storeys, to design No.

upper

Corinthian

of
pilasters

looking entablature,
being kept.
lower

storey

The

The
are

attenuated

is usual

than

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

with

never

about
does

"

There

put into execution.

the
not

authenticityof
doubt

Devonshire

it, and
which

handwriting,

also

this

of

finds

to

that

in

(now

in
similarity

the

p. 106.

the

be

refers

knew

how

style,"

Roman
a

are

jumble

doubts

some

Conte

was

Algarotti

particularPalladio's

in

Drawings

See

Bertotti

such

design, but

with

facade

Palladio

appear

recognizes

accords

Collection

Library).1 He

this

the

to

styles.

two

Palladio.

with

building

doorways

pilastersthroughout

or

the

Gothic-

Gothic

the

to

storey has

lower

the

of

facade,"

old

similar, as

the

mingle

to

attempt

an

lines

have

tion
ornamenta-

the

to

parts of the three

upper

columns

old

the

storey,

which

proportion,and

attenuated

or

that, "doubtless

is

on

as

design,

lower

the old

design, which

in this

3.

Roman

taste

says

obliged to
the

the
the

better

also

He

and

doorway

in

exists
of

features

been

certainlyshown

more

only

in

opinion, and

in this fourth
and

is

features

of this

are

German

or

Gothic

style,"the

Greek

Gothic

the

with

the

design No.

extent,

fact that

refers to the

opinion,and

mixed

but

that

certain

of

design (Plate 42)

it is evident
preserve

either

latter,in his life of Palladio, distinctlystates

his

to

fourth

influenced, to

which

Conte

the

no

obliged to

was

dignity than

less

and

treatment,

the facade

"

but

appearance,

previous designs.

two

of

PALLADIO

the
in

Burlingtonthe

R.I.B.A.

marginal

notes

in

CHURCHES

dialect, and

Vicentine

the

statuary and

La

of

delle

Belle

illustration

an

as

from

"

by

columns
a

Venice

(now

drawing

of

during

Bertotti

feet

the

this

publishes

VI.

executed

by

the

Acca-

design

his

second

his

lifetime,but

The

shows

of

which

is reached

A
a

fire

plan published
atrium

outer

an

wide,

book.

60

columns,

Composite
the

cloister

two

court,

feet.

70

vestibule

The

of

destroyed a large portion.

long by 45^

feet

at

Chapter

to

storeys in height,from
86

method

Palladio

Arti).

measurements

feet

the

Carita

part of the design was

afterwards

in

sculpture.

Convent
demia

93

atrium

or

40 feet in

has

height. The

eight

isolated

design shows

Composite

this atrium

lit by

central

are

quadrangular opening. On each side of the atrium

rooms
appropriated to the sacristyand chapter
square

house.

The

arcades

ornamented

orders.
the

The

two

Doric

Bertotti

order

is surrounded

with

the

lower

being

one

upper

The

cloister court

has

mentions
because

behind

being supported

Doric.
chief

As

there

has
in

columns
so

material

many

usual

are

beams

no

arches.

on

storeys of

and

Corinthian

between

provided

showing

as

master,

this court

the

three

arched

are

in and

not

this

Doric, Ionic

storeys

walled

by

with

windows.

triglyph in
the

good

to

the

of

the

Ionic

less

of Palladio's

buildings,brick

It

with

employed.

bases, capitalsof columns

and

is

covered

upper

our

floor

order

one-seventh

in

frieze.

taste

express,

The

these,

height than

the

is the

stucco,

parts of cornices

of

the

being

in stone.
It

is

design
(now

in

The

generally

believed

that

Inigo Jones

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

of

this

building

in

utilized

the

Bedfordshire

Hall

is held

to

the

12

the

have

been

similar

principal

feature

with

feet,

four
of

remains
but

England,
also

at

the

in

Letarouilly,

"

measuring
that

the

Rome

in

city.

Rome,

courtyard.

the

to

being

of

recessed

of

treatment

Hospital

and

about

22

Jones,

and

elsewhere.

Spirito,

"

mentions

altar

in

above

hospital,

that

this

his

only

used

Rome.

1840,

was

to

new

Paris,

the

are

and

Inigo

S.

of

then

feature

by

feet

above

quarto,

Moderne,"
an

Greenwich,

House,

building,

columns;

loggia,

Ionic

open

Palladio's

portico,

three-quarter

Doric

favourite

erected

Palladio

that

an

Queen's

Altar

in

PALLADIO

ANDREA

94

while

production

CHAPTER

LITERARY

classical
vius's

great

work

master

in

writing

benefit

of

the

posterity.

He

first
his

been

best

The
issued

Leoni,
the

late

because

English
in

edition

published

was

Inigo
into

the
for

Worcester

permission

possession
the

of

University

College,
for

the

the
notes

books,
and

The

to

in

readers

edition,

of

which

mentioned

the

is

doubtedly
un-

corrected)

his

is further

taken

College

most

by

serene

of

very

remarks
from

of

his

the

original

Oxford.

Library,

great

This

volumes.

two

of

and

notes

Inigo Jones,

in

copy

and

the

Worcester

Jones's

was

language.

architect

English,

architect,

Rome,"

work

four

English

(third

in

Palatine.

contains

manuscript

for

the

those
of

published,

great

for

for

in

possible

and

his

principal

European

1742

Elector

it

been

edition
in

into

His

published

as

Venetian,

is translated

interest

far

and

for

Vitru-

by

"Antiquities

1554.

love

principles

day

the

every

as

and

own

have

into
are

that

It

in

career

followed

He

his
with

editions

bibliography.

highness,

of

his

influenced

ideas

Architecture,"

editions

Giacomo

his

Venice

translated

various

great

down

on

countless

has

much

architecture.

on

in

in

early

was

commenced

Treatise

which

and

architects

published
"

apparently

literature,

DRAWINGS

AND

WORKS

had

PALLADIO

VIII

Palladio's

one

of

Dr.

Clarke,
and

Oxford,

authorities
made

"Architecture"

of
on

the

member
he

which

came

of

bequeathed
institution

plates by

Inigo

ment
Parliait to

gave

Jones

"

96

ANDREA
be

to

in 1741,

notes

and

margin

the end

at

Giacomo

copied.

these

the

Preface

from

me,

resolv'd

to

opinion

that

have

that

This

Infancy,

whose

extant

is

and

then

studying and
"

and

thought

it

he

good

and

set down

in

them," etc., etc.

After

referringto

the books

of that "rare

and

he

those

that Venice

magnificence of

to

things

so

ticularly
parboth

Vitruvius

author

ancient

influence

same

the

as

of

Leo

to

and

afforded
Romans

who

with

the

equal

collected
to

honourably

siders
con-

likewise

only, but

worthy

artists

modern

proceeds:

man

and

Baptista

then

He

himself

most

me

parts of

architecture

also indebted

I have

largely.

different

to

from

Vitruvius,

very

manner

writers."

that

of

followed

of Roman

for

Painter

the

of

was

all that

only

journeyed

Person,

seem'd

exceed

it indicates

edifices,which

of my

Danger

mentions

ever

others, to publish to the world

to

he

born

of those

what

was

excellent

not

was

far

the

undertaking worthy

an

of

(orDraughts)
Time

other

myself

the

in the

He

architecture,

other
to

leading

subject."

he

comparing

Alberti

for the

did

under

how

of

because

many

the remains

up

student.

that

in

instructions

architectural

and

great work.

his

study

interestingas

much

relates

Italy,measuring

"

it

as

this

on

fell very

rules

Palladio

the

the main

inclination

natural

to

to

mention

divided

guide, he being

statement

the first he

has

Romans

them,

and

remains

side

added

are
sheets),

than

more

Building, I proposed

master

copy

the

placed in

are

several

My

ancient

after

come

my

"

says,

apply myself

in
as

he

the

do

to

use

Palladio

very

my

make

to

book.

into which

the

commissioned

was

of which

(which

It will be of little

In

Leoni

some

rest

of each

divisions

PALLADIO

Designs

expense
and

of

briefly

be consider'd

mentioned

in

Architect," George Vasari,

an

example

of the

"since

that

grandeur
celebrated

43-

TIIE

FIVE

ORDERS

OK
GENERAL

ARCHITECTURE

PROPORTIONS.

AFTER

FALLADIO.

WORKS

LITERARY
and

carver

true

made

where

Vicenza

he

Preface

by

his

to

short

to

references
the

practicewhich

good."

In

connection

the

and

Corinthian

and

their

roofs.

Side-notes

and

also

are

placed

observations

their

proportions,pilasters,

and

columns

The
ladio.

The

major part

ornamentations

and

illustrations
Plate

43

architecture
be

of
of many

shows

the

according to
given

to

the

shaft of the column

lower third

lay a

thin

more

; and

chapter and refer to

travellingthrough Italy.

when

of

Jones's notes

the

of

end

refers

elucidate

to

thereto,and

information

the

diminution

which

should

to

of the entasis

and

the

text

Proportions
"

should

the

the

XIII.

arches, doors,

rooms,

and

he made

Chapter

etc., with

(Tuscan, Doric, Ionic,

architecture

by Inigo Jones help

at

metals

ornamentation),chimneys, staircases

give additional

to

generally,

foundations, walls,

chapters on

the height of
pedestals,floors,ceilings,

(and

his

he divided

buildingmaterials

on

Composite),and

windows

with

finishes

why

reasons

parts.

to Vitruvius

of

Vicenza,

in

of

articles

orders

five

of

town

put that

timber, stones, sand, limes

as

ference
Re-

forms).

principal clients,and

statement

I. contains

Book

back

refers

native

own

common

into the several

his book

such

the

for

publish

now

on

first occasion

I had

"

his

to

97

first introduced

of classic

(the renaissance

manner

is then

DRAWINGS

Sansovino,

architect,Giacomo
"

the

AND

Orders

the

of Book
the

of the
be

and

orders

of these

of the

As

shafts, Palladio
into three

Pal-

to

the

their

them.

to

proportions

entablatures,

given here.

are

proportions
Palladio.

given

to

of

shafts

according

I. refers

the

to

five orders

which

the entasis
"

says

of

divide

equal parts, drawing

the

at the extremityof which

part perpendicular,

bending Rule as long as the column, or

bending that part of the Rule till the end
o

little

touches

ANDREA

98
at

the

point

of the diminution

of the

the bent

Rule, and

in the

swelled

then

are

buildings the
to

allow

of

central

author

Our

this module
in which
its base.

The

Doric

The

is

the

Order.

wall

into
45

detail of the

book.

the

of the

column

orders

shows

in

this

at

the

author

our

(Plates44

column,

and

45).

without

intervening
of

spacing which

Pal-

plates showing

two

intercolumniation

an

the

in

this

and

less

not

is called

thirtyparts
shows
are

as

semicircular

Ionic

Order.

Plate

46 shows

entablature

column.

The

eustyleby

Vitruvius.

diameter, which

is

half

attached

column

arches, and

Plate

44

to

shows

a
a

entablature.
We

"

half

minutes.

or

the order

capitaland

the

as

and

Ionic, Corinthian

the

in

is taken

general proportions ;
and

the

of

employment

have

orders

in which

The

give

this order

their

of

module

Composite
Plate

except in the Doric,

Vitruvius.

diastyleby

divided

is the

that he divides

base, and

order, and

We

"

of

of

case

3 diameters

The

as

(Plate43).

arches, they should

than

so

module

the

diameter

the

half

that

minutes

or

Tuscan

proportions
the

In

of

front

number,

even

an

fact

the

at

sixtyparts

Vitruvius

in the

that

fact

comparative plate

of

proportions
follows

taken

module

the

intercolumnia-

various

be of

refers to the

then

into

is

opening.

of the column

diameter

ladio's

should

columns

the top very

interesting to know,

The

to, also the

referred

towards

it is

masons.

somewhat

becomes

diminishes

follow

Astragal,I

the

the column

method,

This

nowadays by

followed

under

so

middle, and

handsomely."
tions

PALLADIO

give four platesfrom

the

the

column

column

is one-fifth

intercolumniation

and
is 9

entablature

diameters

part of the
is

2\

author's

our

in

height

diameters

in

its

height,
of

the

called

44PROPORTIONS

THE

OF

ORDER.

DORIC

CAPITAL

AND

ENTABLATURE.

45ARCADE

WITH

THE

HALF

DORIC

COLUMNS

ORDER.

ON

PEDESTALS.

WORKS

LITERARY
Plate
to

shows

47

piers,which
Plate

and

AND

attached

are

48 shows

elevation, and

the

the

Ionic

proportion

99

columns

part of the width

detail

in

half

Ionic

third

DRAWINGS

backing

of the

opening.

capitalboth

it bears

the

to

on

in

plan

of

the

by

the

rest

column.
The

method
formed

square
whereon
the

of
in

the

the

The
fourth

is to stand

is

the

book

points
make

to

referred

angle capitalsis

that

book,

the

showing

same,

compass

of

treatment

is indicated

volute

of the

eye

fixed foot of the

volute.

Palladio's

strikingthe

in

with

dealing

temples.
Plate
column

and

The

in

gives

49

detail

the

Corinthian

and

Order.

capital;

the

is one-fifth

plate
the

the

Ionic

its entablature.
Plate

"

according to Palladio, should

base

of

proportions

shows

at

column

has

part of the

Rome,

the

of

of

the

the

The

diameters,

two

the

lature
entab-

column.

spacing which

of

height,

including

flutes, and

24

height

method

that

be 9^ diameters

intercolumniation

an

Rotonda

50 shows

as

at

is called

systyle.
Plate
when

used

have

shows

51
in

Plate
used

of the width

its width
shows

52

with

the

height,and
mouldings
Plate

in

rest

53

this the

archway, which

the

pedestal which

column, which

shows

piers

itself is

the

impost

is
upon

should

be

quarter of its

which

the

arch

arcade.

an

gives

In

order

height.

Corinthian

in

Corinthian

the

arcade.

an

of the

in detail

it also

of

treatment

conjunction with

two-fifths

2\ times

the

in

detail

the

Corinthian

capital and

its

entablature.
The
shows

eight

capital
the
in

is

\\ diameter

arrangement

each

tier,and

of the
the

in
two

method

height, and

the

tiers of acanthus
of

forming

the

plan

leaves,
volutes

ANDREA

ioo

the

supporting
of which

PALLADIO

curved

The

they spring.

one-fifth

(see plan),and

abacus

entablature

the

is

leaves

designed

out

be

to

part of the height of the column.

The

the

projectiongiven

right side

of this

of consoles

and

Plate

shows

54

remarks, named

cluding
capital,inin the

leaves, is indicated
and

arrangement

cofferingbetween

the

on

the

setting out

the

to

the

plate,and
sunk

clearlymarked

in

adopted

arrangement

the

proportion
are

same,

very

plan looking up.

the

order

Composite

Roman)

being

as

invention

an

Palladio

(also,as

of the ancient

Romans.
author

Our
is

of the Ionic

composed

slender

that it is called

remarks

the

than

and

Corinthian

Corinthian,

it is

capitals;

which

to

because

Composite

it

more

it has

however

general resemblance.
The

column

the

and

is here

Plate

half the

about

height of 2.\ times

the

one-third
Plate
of this

order, from

The

The

the

which

lower

or

be at

part has

difference

once

and

in

the

have

a
as

it and

the

seen.

capital is
the two

omission

entablature

between

of

the

height
of

angular

of acanthus

rows

principallyin

cornice

the

capitaland

the

Corinthian

the

shown

pedestal is

is one-fifth

the

column.

the

from

arcades

to

openings,which

The

width.

part of the

entablature

varies
the

the

height,

diameter,

il

as

attached
of the

in detail

capitalcan
upper

type, and

their

shows

column
width

height of

56

Corinthian

this

shows

in

calls it.

Vitruvius

55

diameters

10

shown

is

intercolumniation

picnostyle,as
piers are

figured as

of the

Ionic

leaves

column,

the

consoles

dentils, and

in

and
of

having

pulvinated frieze.
In

his first book

both

Palladio

of cities and

promises

harbours, but

treatise

this

was

not

on

cations
fortifidestined

iM,caiv.v.v

j,

gggZ

S^aSZSSZ

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

-Xtj
.

46.
GENERAL

THE

PROPORTIONS

IONIC

ORDER.

OF

COLONNADE.

Jli.-LS-

llMtKg'Tjj;

ggBBSSESSBglSEi

j
lXHTTKi.fjij.;.ing;j

.'i-"n-Mlfc!i

47.
ARCADE

WITH

THE

HALF

IONIC

COLUMNS

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

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

ORDER.

ON

PEDESTALS.

^^ggg^gjg

to

be

LITERARY

WORKS

published,for

death

and

is

for writing
qualifications

upon

with

great benefit, the

Book

II. contains

the

divided
the

into

the

be

to

of different

different

forms

Greeks, the situation

such

he

invented

his

would

much

of

tions
fortifica-

ingenious

of several

for certain

designs

elsewhere.

observed

of

Palladio's

military art

designs

and

in

the

atrium,

of country

{inter

is

alia) with

of town

and

houses,

houses

private

the

book

private buildings, the

houses,

buildings, including

town

noblemen

This

the construction

rooms,

of

been

subject, for

chapters,dealing

seventeen

proportion

planning

also

Vicenza

Verona,

have

in 1527.

executed

country houses, and

in Venice,

for

Verona

at

the

of his

example

101

may

doubt

no

Michele, who

finest

erected

being

San

It

In

unquestionable.

was

competed

and

intervened.

lost, however.

knowledge
have

DRAWINGS

There

written

great

AND

several

celebrated

the

of

designs

"Rotonda"

at Vicenza.

The

of

notes

of this book

plan

Jones, who

Book

streets, roads,

also
Book

these

notes

and

to

their

the

by Inigo

the

; thus

spot

practicaldiscussion
the Greeks

typicalforms,

great work, the Basilica

restorations

parts of the

manner
on

the end

at

book.

the

to

different

in this

to

and

margin

The

bridges,the piazziof

basilicas

of the baths

and

of ways,

and

and

Romans,

includes

at Vicenza.

xysti

of the

ings
draw-

Notes,
Greeks

given.
IV.

together.
classic

made

is devoted

of Palladio's

are

referred

have

value

III.

plans and

and

must

adding great

the

on

of great interest.

are

lettered

are

ancient

Inigo Jones

It

Rome,

is in

size

consists

equal
of

to

the

first three

descriptionsof

the

books

put

temples

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

of
in
of

and

ANDREA

102

restorations

the

Peace, Mars
and

Outside

the two

Rome
dealt

are
(Istria),

of the

various

interested

it is

impossible,in
that

hundred

sixteenth
Palladio
In

the

Pollux, all of

four

folio
the

or

refer
at

edition

the

Pola

at

In

the

plates

for

these, as

do

than

more

there

edition

their

the

restoration

originalappearance

to

by
be.
and

carefullydrawn

are

are

of extreme

buildings in

the

indicatingin
their

his visit.

of them

of

the

of

time

Leoni's

of

many

mentions

disposal,to

our

to

book

the

to

condition

as

he

plates,many

considered

he

these

in

exist.

notes

century,

Leoni's

those

in side-notes

buildings at

the space

showing

what

and

should

reader

and

interest, as

and

Nismes,

at

given

are

temples,

The

one

Virilis,Vesta

with.

important

condition

of

Temples

Faustina, Venus

Castor

temples

Inigo Jones's remarks

mention

and

Antoninus

Avenger,

the

as

Rome.

at

are

these

buildings

Tivoli),the Pantheon,

and

which

of such

Minerva, Medica, Jupiter,Fortuna

Rome,

(Rome

given

are

PALLADIO

figured.
Book

Rome,"
the
to

has

IV.
to

Appendix

an

which

is added

the

foundation

of

the

"Antiquities

Discourse

"A

Ancients," by Palladio.

the

on

this

In

the

on

appendix

is

Fires

of
of

reference

city,her principalstreets, bridges,

hills,the aqueducts leading into Rome,

the

theatres,amphitheatres,

market-places,triumphal arches, porticoes,obelisks,

of

palaces,courts
In

given
the

about

the

good

deal

everyday

interestinginformation

of

life and

of the

customs

population,weddings, education, divorce,

other

is

Romans,

funeral

and

rites.

The
the

addition

justice,granaries,etc.

discourse

different

pipes

kinds

for introduction

on

the

fires of

of hearths
of heated

and
air.

the

ancients

stoves,

and

refers
the

use

to

of

48.
DETAILS

OF

CAPITAL,

THE

SHOWING

IONIC

ORDER.

SETTING-OUT

OF

VOLUTE,

ETC.

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

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

49.
DETAIL

OF

ENTABLATURE

THE

IONIC
AND

ORDER.

UPPER

PART

OF

COLUMN.

LITERARY

WORKS

"

Gualdo

far

as

are,

promised

Emanuele

to

owing

the
to

the

in

had,

records

then

Palladio

occupied

that

at

Edward
her

in

time

by

these

and

assistance,

though
beautiful

sketch

believed

entirely

contained

devoted

particular

researches.

and
It

on

personages

Henry

have

II.

in

the
of

his

his

life

death

stayed
and

this
the

for

way

through

here

in

488,

Lothario

(now

King

one.

the

theatre,
made

which

edifice.

oranza
Migli-

there

of

study

another

was

entertainment

Charles
1128.

this

continued

of

Theodoric

Vicenza.

in

Donaldson

Barichella

the

gave

drawing,

the

to

that

used

was

of

and

of

form

was

successful

Barichella
of

by

which

forthwith

and

the

Egerton

drawing

believed

their

1039,

the

authenticity

is

august

802,

after

which

to

proved

years

building attached,

is believed

quest

accurately

theatre,

Wales

Mary

Professor

drawings

Chiswick,
of

had

procuring

the

peruse
at

Palladio,

the

many

to

Prince

Both

anxious
who

to

with

Lady

it.

in

wrote

he

visited

and,

Vicenza,

inquiries

by

of

almost

the

found

signed

not

Barbaro,

himself

villa

the

Donaldson

Professor

the

Duke's

that

visits, Barichella,

these

permission

In

VII.).

outside

finished
un-

known

Daniele

charged

the

remained

was

Miglioranza,

of

kindly

Devonshire's

of

of

any

disciple
who

Donaldson,
Duke

of

architecture

on

Savoia
It

Monsignore

Theatre,

Berga

devout

of

of

death.

master's

our

tecture
Archi-

on

below.

treatises

certain

Filiberto

company

discover

been

to

of the

ruins

that

us

103

"Treatise

possible, given

as

informs

DRAWINGS

Palladio's

of

editions

various

The

AND

the

Great

in

ANDREA

io4

THE

VARIOUS

PALLADIO

EDITIONS

AND

PALLADIO'S

OF

TRANSLATIONS

WORKS

Le

Antichita

di Roma.

Rome,

Latin, 1618.

In

Do.

Another

Do.

In

French, by P. de Launay.

Do.

In

Spanish, by

in

di

C.

Palladio.

A.

Antiche

Fabbriche

London,

da

luce

8vo.

Rome,

2.

1589.

Vitruvius, published by

Cesare

G.

fatti

le

con

figure in

rame

Franceschi, 1575.

Cesare

disegnateda

le

figure

4to.

Rome,

con

d'arme,

Riccardo

rare). Venice, 1570.

very

etc.

Andrea
di

Conte

Palladio

in

rame

1618.

Vicentino

Burlington.

Antiche, etc., published by Lord

London,

Folio.

Published

(Works

upon

Quattro

by Cameron,

Polybius and
Other

Architecture

London,

on

1772.

Theatres

17 15, 1721,

1742

by Inigo Jones).
The
above
printed in
Appendix
Five

London,

on

the

Orders

1729.

in

editions

of Andrea

are

Folio.

libri dell' Architettura.

(With woodcuts.)
The

Burlington.

1730.

Do.

The

Arras, 161

8vo.

1730.

Fabbriche

an

G.

C.

degliallogiamentide'
in

of

(now

Venezia,
di

Commentari

date

edition

1709.

1556.

Commentari

fatte da
I

for the

by Fairfax,

notes

Francini.

H.

primi dell' Antichita

I due
I

edition, with

drawings

Barbara

1565;

1555,

1576.

Do.

The

Venice, 1554,

8vo.

not

published.)

Venice,

1570.

1581, 1601, 1616, 1642.

Folio.

Palladio, by Leoni.

(thirdedition). (Containing notes

French

by

Antiquities of

Du

Bois

in

1726, with

Rome.

of Architecture,

revised

by

C.

bell.
Camp-

tef

IE

"

t^

ffl

50.
GENERAL

THE

ORDER.

CORINTHIAN

PROPORTIONS

te

OF

COLONNADE.

ffl

laa

'a

51.
ARCADE

WITH

THE

ORDER.

CORINTHIAN

HALF

COLUMNS

ON

PEDESTALS.

WORKS

LITERARY
de

Architecture
The

vols, folio.

editions

Folio.
The

1735,

drawings by Hoppus.

1736.
of

Book

First

Cole, with

B.

by

London,

by

Palladio, translated

Andrea

1738 (now rare).

London,

Also

by

translated

Architecture,

G.

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

Richards.
1

of

Architecture

I. Ware.

72

Palladio, by G. Leoni.

A.

105

Hague, 1726.
The

DRAWINGS

AND

and

1733.
des

Traite

Ordres

Cinq

Le

d'Architecture, par

Muet.

Paris, 1626, 1647.

4to.

baths

(The

1797.

Agrippa

of

Vicenza, 1785,

Folio.

Scamozzi.

dei Romani.

Terme

wanting

are

in

the

above

collection.)
of the

Baths

Folio.

C. Cameron.

by

Romans,

London,

1775.
French

L'Architectura.

and

Italian.

Venice, 174

Pasquale, 1768, 1770; Siena, 1790;

1642 (second edition); by Dubois, 1726 (Hague).
G.

by

Les

B.

quatres livres d'Architecture,par de Chamray.

Cinque
de

Libro

Circa

Praves.
Los
Ortiz

de

libros

1746.
Palladio, by F. de

Andrea

Arquitectura.

Civil

traduc.

par

96 pi. Madrid, 1797.

y Sanz.

Batimens

les

et

recueillis et illustrds par

with

Folio.

1625 (?Madrid).

quatros

Les

d'Arch.

Ordini

Arquitectura de

la

Paris,

edition).

French
Paris, 1650 (first
Delle

printed
Re-

1.

de

Desseins

Octave

Bertotti

Andre'
Scamozzi.

Palladio,
4 vols,

plates. Vicence, 1796.

(This

edition

information
Le

in this

Fabbriche

1783, 1786, 1787;

been

has

utilized

for measurements

and

biography).

ed
a

Disegni,par

O.

B. Scamozzi.

edition

in

1796-1797.

smaller

1776,

106

ANDREA

Architettura
171

And

1.

di Andrea

in

di Andrea

Italian

Architetto,"N.
Fabbriche

Palladio,by
folio.

eight volumes,

Architettura
Venice.

PALLADIO

and

Palladio

French

N.

4to. Venice,

Venice, 1740-1748.

Vicentino.
"

text,

Con

Folio.

1740,

le osservazioni

dell'

N.

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

CEuvres

N.

de

completes

Andrea

Thermes, by Chapuy, Coricard,

Palladio,

Palladio,
and

Lenver

le

Terme,

la traite" des

et

Paris,

Beugnot.

1825, 1842, 1852.

N.

N., Le

Folio.

dell' Archit.

di

Palladio.

plates.

93

Vicenza, 1800.

The

Edifices

Atkinson,

the

Memoir

of

the

of

to

screens

and

Studio

Palladio, with

Palazzo

Olympic Theatre,
Sala

"

of

della

F.

with

Chiericati, the

and

Ragione,"

Palladio.

taken

measurements,

the

Arundale.

Villa

Folio.

Capra,

London,

1832.

PALLADIO'S
THE

BURLINGTON-DEVONSHIRE

This

The

made

was

son,

daughter
thus

Cavendish
was

by

peer

of

who

in 1664

Richard

by

Boyle,
born

was

in

the

villa at

family.
with

grandson

The

the revived

William

his

drawings,

died

its contents
of

this

Earl

of

of which

Boyle,

as

of

in

1703,

and

was

third

succeeded

(and

The

the fourth

Duke

and

Earl

of

of Lanes-

Burlington. Dying

1753.

in

second

Clifford

Baron

about

himself,

Palladio

Earl

of Cork

and

title of Earl

(second

1644,

grandson, who,
Earl

by

Richard

created

Earl, married

son

to be

one

in

was

1695

Chiswick,
third

was

England

fourth

of this,the celebrated

invested
his

Burlington

succeeded

was

Burlington, who
and

of
a

of

believed

are
fifty

York, and

co.

in 1697 he

only

and

first Earl

Cork, who

borough,

collection

DRAWINGS

LIBRARY.1

R.I.B.A.

THE

important

hundred

two

OF

COLLECTION

IN

his

DRAWINGS

by

last)Earl

of

only surviving
of Devonshire

heirlooms, passed

to

the

marriage, George Augustus Henry,

of

Burlington,and

Burlington

he

was

succeeded

of the revival)and

seventh

ywwwwM^ib^^

52.
DETAILS

OF

BASE

OF

THE

COLUMN

CORINTHIAN

AND

ORDER.

PEDESTAL

AND

IMPOST

OK

ARCADE.

53
DETAIL

OF

THE

ENTABLATURE

ORDER.

CORINTHIAN

AND

UPPER

PART

OF

COLUMN.

LITERARY
is

the

in

now

at

Chiswick,

or

Those

the

have

and

the back

the

free for

lines in

hand,

orders,

written

in

cramped

have

some

have

others

illustrate.
of these

Duke

of

the

As

as

Member

for

tint.

indication

of

any
edifice

the

believed

are

Devonshire, who
Lord

of

are

them,

drawings

or

another

died

in

to

be

the

892, and

was

Hartington, formerly

(R. LB.

A.

one

of

to

which

the

is

drawings

are

Palladio

in the

There

they relate,

succeeded
sat

are

period,with

hundred

by

edifices,

memoranda

of

two

the

of

other

The

two

designs,

or

object they

already stated, about

as

drawings
with
finely

peculiar orthography.
on

as

of the

probably by

are

on

only, so

They

upon

character

Italian

the

for Rossendale.

end

One

shadowed

publication.

of

drawings

present Duke, who,

at

are

which

and

name

no

boards

memoranda

Palladio

signature of

follows

as

originalmonuments

of

in

apparently on

temples, sepulchres and

of

frequentabbreviations
not

size,bound

purely elementary drawings

are

likelyprepared

most

folio

of

drawings

sheets, having sketches

wash

from

out, many

plans

or

the

on

his villa at

the

mounted,

some

with

and

several

as

fessor
Pro-

Palladio,

at

inspection. Many

bistre,and

dimensions

fairlymade

and

Andrea

described

all

the

to

classes,either sketches

having

the

on

Note

they proceeded

of the

many

lines ; others

drawn

"A

by

books

portfolios are
attached

sides,are

leave

British

held

Poynter

called

Donaldson

leather, and

foreign boards,
to

Institute

of Devonshire

portfoliosand

in

morocco

in

both

and

Poynter

contained

russia

Duke

of

of this collection

years

was

107

London."

near

Messrs.

Institute

Drawings

the

possession of

the

Royal

Ambrose

paper

of Architectural

Collection

as

The

DRAWINGS

Royal

1845, by Mr.

Donaldson.

AND

in recent

of the

general meeting

the

first notice

17th November,

in

of

Library

The

Architects.
was

WORKS

House

Transactions, 1892.)

by

meant

to

and

fifty

himself,
his

son,

of Commons

the

108

ANDREA

and

if this is the

and

valuable
The

drawings

which

it will

case

is the

PALLADIO
understood

in

are

was

With

view
bird's-eye

before

the

important

portfolios,in

seventeen

Baths

of

Constantine,

Nero, Titus, Diocletian, Antoninus

(allin Rome).

how

collection.

figured the

are

be

Baths

of

Rome,

dated

of

Renaissance

completion

of

the

Vespasian,

and
(Caracalla),

the

of

seven

Agrippa

in Portfolio

Agrippa

1562, showing

VII.

the

Church

city

of

St.

Peter.
In

1892 when

the

collection

the

Duke

of Devonshire

Wyatt

and

with

the

them

Titles

of

J.

the

Architects

D.

Crace,

volumes

Library of

Therme

Constantino

2.

Therme

Vespasiano

3. Therme

di Nerone

4. Therme

di Tito

5. Therme

di Dioclesiano

6. Therme

di Antonino

7. Therme

di

Fabrichi

9.

Edificii

10.

Do.

11.

Do.

12.

Do.

13.

Disegni

Olimpico.

The

the

of
the

Royal

lent

by

Institute,and

of

them

the

same

Palladian

remove

by

Messrs.

time
in

1845.

drawings

Institute

paring
com-

and

of British

1.

8.

at

at

to

were

originaldescriptiontaken

the seventeen

designs in

made

was

made

drawings

for exhibition

examination

Papworth

being

were

these

Chatsworth,

to

careful

more

arrangements

in Roma.
in Roma.

in Roma.
in Roma.

Agrippa

in Roma.
in Roma.

in Roma.

Antichi.
Antichi.

di

Andrea

Orders.

Delia

Palladio.

Pedestals,

etc.

Carita, Teatro

54GENERAL

THE

ORDER.

COMPOSITE

PROPORTIONS

OF

COLONNADE.

55.
VKCADE

WITH

COMPOSITE

THE

HALF

COLUMNS

ORDER.
ON

PEDESTALS.

WORKS

LITERARY

14.

Disegni

di Andrea

15.

Edificii

Antichi

Peace,

AND
Palladio.
di

Disegni

17.

Disegni

The

di

those

Pantheon

; the

Constantine
Gallienus

doorways

as

Palace,

and

believed

for instance

courtyard of

different

the
the

and

by

of

Olimpico
della

at

Carita

Fortune

the

Constantine

are

and

also

many

for

houses

being executed,

Thiene

at

elsewhere

the

at

Baptisteryof

designs

and

Chiericati

Convento

; the

of these

at

Ravenna

There

Palladio

the

parts of Italy;

at

and

Verona

kinds, many

Teatro

of

other

Septizonium

of

; Colosseum

Temple

Spalato.

Palazzi

the

of

scene

be

to

details

Pola

Theodoric

at

and

tioned,
already men-

Septimius Severus,

of

gateways

the

Rome

arches

Spoleto

at

palaces of

the

Tivoli

near

of

tomb

and

Verona

temples in

; the

Adriana

drawings

Town

of ancient

drawings

great Therme

of the

theatres

ancient

; several

Praeneste

and

Palace, Chiericati

plans, sections, elevations,

some

houses.

Country

of the measured

following : amphitheatres at

and

of

Temple

Country

Palladio.

Andrea

important

more

are

and

Palladio.

Palladio.

di Andrea

buildings,besides

Villa

etc.

Palace.

Thiene

the

Churches,

Andrea

houses, including the Valmarana

Rome

109

etc.

16.

and

DRAWINGS

Vicenza,

at

town,

same

the
other

Venice, and

buildings.
It would
tonda

(VillaCapra)

extensivelyin
exists
The

been

have

after

had

building.

whole

collection

of

architectural

In addition

our

been

preserved,as

all

years

of this

record

interestingif drawings

forms

architect's

works

draughtsmanship
to the

over

Europe,

and

the

Ro-

copied

was

but

valuable

most

of the

it

of

no

and

methods,

so

drawing
ing
interest-

and

of the

period.

Burlington-Devonshire Collection

must

be

mentioned

of

Vicenza.

His

his

by

his

bequeathed
Vicenza

being

Severus,

the

to

the

temples

Burlington

and

Vicenza
of

Arch
of

of

published

his

of
of

largest

collection

dealers

that

was

Pinali
those

of
Tivoli.

and
in

at

Contarini,

collection

among

and
Marte

at

Burlington.

Verona,

Tito

Trevi,

attention

Lord

and

Museum

possession
The

Vasari.
Pinali

Giuseppe

the

in

were

and

Albanesi

Scamozzi,

bought

some

the

and

designs

the

in

are

attracted

his

of

set

which

edifices

drawings

and

death,

interesting

very

ancient

drawings

Lord

PALLADIO

ANDREA

no

London.

at

Septimius
In

1732

^^mwtmwmmmm?,

56.
DETAIL

OF

ENTABLATURE

THE

COMPOSITE

AND

ORDER.

UPPER

PART

OF

COLUMN.

IX

CHAPTER

PALLADIO'S

ANDREA

have

WE

neither
famous

so

much

used

death

is

by

this
for

father;

find

we

1600.

We

read

Montagnana

in

and

by

assisted
which

upon
and

died

his
about

afterwards
in

the

Orazio,
He
a

of

was

sonnet

father

Fede,

it

to

thought

studied

seems,

Giovanna
and
1

of

in

"

Memorie

of

Intorno."

was

he

time

his
died

1574.

dome

an

the

at

architect,

Olimpico,
of

his

Giovanni

death,

Battista,

name

appears

Vicenza.

law

in

Padova

cultivated
shows

1568

A.

her,

like

and

the

Teatro

at

style.

for

about

of

whose

writing

Aragona

elegance

at

goldsmith,

son,

but

daughter.

one

the

married

goldsmiths

his

can

not

father, died

youngest,

of

guild

capable,

if

1588,

building

Zenobia

1627.

third

his

engaged

we

sculptor,

in

completed

was

tomb

Fede,

and

and
a

Venice

the

Her

Zenobia.
sons

Silla, the

Scamozzi,

Delia

wife,

became

assisted

1566.1

the

his

four

at

directing

Delia

inscribed

living
who

his

of

of

Antonio,

him

Leonidas,

for

word

appears

death,

only daughter,

Marc

It

of

wife

families.

and

own

been

family

son,

his

have

his

had

eldest

before

the

Moglie,"

noblest

son,

marriage,

of

"

uncertainty.

Palladio's

may

the

in

even

made

called

merely

in

years

probably

The

days

Silla,

two

Palladio

in

these

mention

any

is

shrouded

that

then

She

Palladio's

regarding

find

we

man.

also

son-in-law,
surmise

do

in

built

was

information

no

DAYS

DECLINING

AND

FAMILY

He
Palladio.

died

in

poetry,
great
about

1564.
and

nobility
1574.

ANDREA

ii2

Palladio, who
gave
His

treatise

his

It
the

the

upon

loss

within

father

was

of

little

his

works

than

more

condurre

al

contentezza

acerbissimo
ambedue

the

Before
called

fra

the

relatingto
Vicentine,"
the

marriage of
distinction

exceed

his school.

the

This

and

his

was

large volumes,

both

in Italian
The

was

held

house,

small

by

some

and

and

daughter
of

lodat
la

pensiero
dell'

morte,

mio

gravissimo
d'essi

mezzo

legal documents

he appears

conferred

upon

ladio
Pal-

and

works
with

This

book

colossal

of

courage

measured,

contains

most

showing

much

work, embracing

editions

many

those

much

Scamozzi, who

civis

days

commentaries,
It is

"

as

in the

honours

buildings.

those

In

mentioning

have

appeared

French.1
seen

in the

street

unpretentious,one

of

here

from

that

ebbero

non

of Vicenza."

undertaken

of which

be

to

in

was

Bertotti

interestingengravings and
learning and scholarship.
four

Ma

mesi

publication of his

Ottavio

restored

the

of

labour

diligenceby

his

worthy

None

republic.
can

Palladio
"inhabitant

and

writing of

lascib."

mi

1564

year

"

the
and

books

In

cosi

due

died

sons

his

in

disegni

spazio di

grief

another, and

time.

fine

sons.

contained

two

one

remarks,

i loro

sconsolato

His

some

his

of

1575

gloria incidiosa, con

Vicenza"

"of

for

father,

great man's

of the

of

desiderato

dolore, nello

privo

in

all interest

Palladio

Cesari

to

di

humana

drew

Caesar

months

dormant

perche interponendosi

and

instruction

children.

two

devoted

most

the
of

inconsolable, and

trial

grazia

of

to

beloved

profession remained
this

time

been

engravings executed by them.

is extremely patheticto think

copper

at

of

have

to

appears

much

up

PALLADIO

he

lived

See

Andrea

list,page

of S.
many

1560

105.

Palladio

la

sua

Scuola.

Lucia, Vicenza,
such, and
till his

it is

death.2

FAMILY
It

built,it is believed, by Cogolla,and

was

the

DAYS

DECLINING

AND

this

possession of

continued

take

to

work

finished

his

after

death

the

end

his

by

it found

came,

Teatro

of

his

him

at

Olimpico,

and

Silla

son

nevertheless

building

efforts,the

finest

his

Palladio

part in

active

finallythe

of

one

upon

long time,

an

when

edifices,and

in
originally

was

family.

for

infirm

Though

113

Vincenzio

Scamozzi.
death

Palladio's

his

for

virtues

other

many

benevolent, and beloved

of the

Olimpico

it in

the

him

revered

city,which

native

great grief and

was

by

which

there

genius

but
and

Academicians

Corona, and
the

first faced

at

loyal

amiable

The

his workmen.

his coffin to S.

attended

vault

both

was

his

to

his

only for

not

for he

"

loss

placed
altar

of

S.

slab

olive

the

with

the

will

of

and

Corona

on

the

Professor

Palladio's,as

the

Palladio

funds

left

by
of

commemoration
his

remains

procession
19th August,

were

from

the

1845, the

death.

with

bust, placed

at

the

:
followinginscription

Andrea
di

Antonio

in

solemn

great architect's

the

Ad

the

joining was

the

and

Comunale,
in

honoured

cemetery, with

of

marble

of the staircases

one

with

erected

carried
S.

at

anniversaryof
Canova

hands

two

and

Velo

Count

Palladio, in the Cemetero

Sepulchre

the

choir,above

of the

chapel was

sumptuous

disinterred

repaired,the

was

the confessional.

leading into
By

and

branch

into the wall

moved

him

the church

Giovanni, but when

Palladio

Vicenza.

Canova.

Todeschini
he considers

Olivieri

family,

denies

that

the

sepulchrecould

the olive branch

but

Magrini
o

and

to

be

the

Gonzati

be

badge

bring

ANDREA

ii4
evidence

that

prove

received

1578,
a

to

PALLADIO

the

burial-placefor

Silla, Palladio's

permission
his

family

brother-in-law, husband

Palladio's

Silla

the
after

the

of

Palladio

of

sides

Architecture

and

catafalque,draped

introducing
adorned

of

some

with

and

long

music

by horses,

after

over

ground

loud

volley

solemnity
erected

Piazza

centuries,

he
of

of

so

the

occasion.
to

his

Signori,at

ous
numer-

designed by

car

of

surrounded

motifs
further

the

breeze.

evening
of

church

slowly through
the

of

street

an

trodden

dignitaries,

memory,
Vicenza.

of

the

various
decorated
And
carried

were

during

life.

impressive finale

Francesco

by

Bressan
Vincenzo

Here

he

car

solemn

S. Lucia.

ashes

master's

ashes,

The

and

banners

representatives

proved

tality,
cereal,symbol of immor-

line

our

by

day

by

designs, and

frequently had

cannon

statue

de'

and

eventful

own

military

long

of

art

erected

was

this

the

At

composed

in the

cortege moved

three

him.

illuminated

of laurel

while

Principe Umberto

Corso

figures

two

was

scientists, architects, and

The

modelled

urn

by

funeral

It

cross

the

accompanied

societies.

the

to

on

floated

streamers

drawn

was

an

part of the treatise

of

and

Palladio's

by

in

place in 1845,

monument

black

in

floral wreaths.

surmounted

took

evening

Bellis.

Giovanni

Professor

will, in which

symbol.

formed

This

carried

tapers, was

wax

insignia

figures representing the

the

On

the

genius crowning

Vicenza.

Fabris.

Giuseppe
noble

artist and

also

were

was

It is surmounted

Agrippa.

as

Fede, his

Documents

placed

which

tomb

Delia

of

removal

were

additional

two

are

this

of

of his own,

design
baths

with

ceremony

representingthe

so,

this

particularis

in

testimony

the

remains

of

of Zenobia.

family, one

seals his

When

on

that

and

3rd,

May

on

construct

later,showing that the olive branch

found
of

to

son,

in

to

A
the

1861

Gaiassi, in
is

depicted

in

sketch

of

chin.

the
of

an

crowned

by

society
with

the

of

left

The

design.

in

holding

attitude,

pensive

is

Vicentino
Romana

La

Societa
Degli

di

PATRI

IN

di

Artigiani
m.d.ccclxxi.

Edificii.

di

Sapienza

SOMMO

our

Palladio

Maesta
E

of

Architetto

Mutuo

Scritti
E

the

FVORI.

Soccorso.
Vicentini.

with

hand
foot

falls
of

115

compass

right

the

bust

Andrea

Per

bent,

symbol

inscription

following

which

upon

had

also

Vicenza

arm

the

serpent,

hand

near

capital,

Ionic

one

socket

the

On

DAYS

DECLINING

AND

FAMILY

ing
supportis

an

the

the

ment
frag-

acanthus

immortality.
master

executed

CHAPTER

NO

art

and

long
done
to

be

can

greatest

natural

who

has

laid

The

more

It

of

the

great

and

an

art

of

Palladio

all

been

doubt

considers

great

that

that

of

no

combinations.
works

the
will

of
his

be

the

facilitated

vigorous

severity
recognize

style

of

its
and

rules,

his

book

propagation,
licentious

of

medium

anarchy
of

Palladio

is

followed

in

Quincy

propriety

rules

modern

De

buildings.
has

the

raised

architecture

on

universally

civil

proportion,

among

school

Palladio

which

and

which

most

in

clear

precedent,

of

the
and

with

even

of

art

buildings

just

The
is

the

harmony,

rank

influence

which

of

ancient

of

foremost

especially

more

"

to

he

stock,

own

knowledge

together

mentioned.

have

refuse

the

"

its

extensive

study

dangerous

the

to

already

Europe,

must

design

opinion,

with

is

more

this

sense

of

The

without

produce

Vitruvius,

master,

avoidance

creations.
has

careful

by

intuition,

natural

the

of

possession

gathered

his

on

acquaintance

excelled,

and

invention."

was

past,

subsist
can

combined

form

Reynolds's

In

cannot

his

have

of

approved

been

has

which

of

materials

no

up

extensive

who

power

genius

which

that

motives

ages.

without

issue

of

various

examples

successive

throughout

successful

knowledge
the

of

those

produce

to

intimate

and

before,

those

brought

SCHOOL

HIS

AND

PALLADIO

OF

INFLUENCE

THE

of
course

which

between
those
allow

who
of

adds, "the

He

exception."

of Palladio's

Much
interior

sacrificed
his

the

seldom

of

needs

incurred

ornamental.

the

facades
these

and

streets, from

the

be

to

the

to

be

opinions
work

of

if

occupies
This

efforts

the

is

it must

the

first

licence
the

both

of others

with

remark

to

and

time

alreadythat
To

majority of

convenience

rather

of Palladio's

be

cases

held

"

some

as

against his

works

were

the

of
the

temporaries.
con-

extreme

"it is dull

which

have

does

art

not

and

had
meet

lifeless,

considerations

charges

in the

cannot
master

imitators.

in which

some

of Classical-

We

proved against our

fection
per-

list

into

regardlessof

monumental

in

modern

Palladio's

fallen.

unsuccessful

is

magic

includes

against

these

the

the

revival

Palladio's

but

in

"

are

It

In

that

held

ornamentation
had

be

revolt

them

is absolute

by

Serlio

narrow

succeeded

excelled

in the

by scholasticism, and

and
utility

but

his

laudation.

universal

dominated

expressed
of

view

manner

and

composition

architecture

occasion

of

of

to

has

place

Palladian

of

Palaces.

where

only

many
of

found, acknowledged

ism, viz., Vignola, Scamozzi

It

are

important

Porto

of critics ; but

of Palladio

styles.

the

the

side

most

architect

our

ancients, and

Palladianism

results

and

that

found, and

the

modern

The

censure

the work

of

satisfaction.

expected

escaping

the

on

impossible

Barbarano,

Valmarana,

not

of

merely

in

found

There

palaces.

in

the necessary

it is almost

which

degree

any

built

some

"

successful

be

is to

desired

so

between

beauty

of his

quadrangles

in Vicenza

with

Much

suited

also

when

outlay, though

unnecessary

seldom

was

He

of effect.

accomplishing a satisfactoryagreement
and

this

patrons, and

his

to the

devoted

was

buildings,and

considerations

to exterior

to

art

attention

and

his

of

is doubtless

of Palladio

talent

care

convenience

117

emanates."
facility

this

principlewhence

the

SCHOOL

HIS

AND

PALLADIO

the

self,
him-

Many
qualities

n8

ANDREA

of

impressiveness and
the

extent

in

mundane

which

other

over

the

the

his

entirelyin

not

century, and
that

of

villa at

accord

property of the Duke

and

the

also

the

over
a

of

power

which

avoided
and

by

the

centred
were

of

this

of

be

he

than
the

in

and

the

now

critics condemn

having

which

other

found

Burlington
Some

Rome

sixteenth

the

climates

is to

of

clumsy profile,

duced
frequently intro-

so

grandeur,

clearly appreciatedin

most

Donaldson
much

believes

of

points to
with

panels

ornaments

above

each

other.

with

used,

of his
The

regard

were

very

his

cornices

character

of

the

order

were

profilescarefullyadjusted. In many
shows
a
leaning towards
others.

his

style.

carefully
and

niches

when

ments
pedi-

unbroken.

The
with

the

arrangement

of

of his
the

to

generally

were

just harmony
and

his

to

doors, windows

employed,

Serlio

rarely sculptured,

entablatures

in

of the

following

raisings,were

or

they invariably appear

the

and

and
greatest simplicity,

the

of

employed

in

facade

The

taste.

observed

be

the

Vignola

Palladio's

Architraves

him.

composed

often

purpose.

to

members

he

for their

needs
in

Lord

windows.

upper

were

so

of bas-relief

occasions

on

producing great simplicityunited

either

Pedestals,

that

possessed

of the

few

splendid proportions

he

influenced
a

this

capital as

lower

Palace.

have

the

doubt,

no

Undoubtedly

be

can

Thiene

are

panel

is

stately edifices

with

by

ings
build-

predominate

There

and

of Devonshire.

Corinthian

Palladio's

the

by

and

example

some

important

fitness

imposing

great

to

important public buildings

too

were

Chiswick, erected

and

Rome,

especiallywas

Italy. An

of less

prevail.

ancient

the

of

In

outweigh

may

use

fascinated

was

designs

Reproductions
were

of

should

quality

buildings of
of

some

element

considerations.

aesthetic

the

grandeur

considerations

however, that he
of

PALLADIO

Ionic

edifices

he

doubtedly
un-

order, though

in

Probably
been

in

with

rooms

be

equal
It

in

that

of

In

those

should

whose

found
into

be

in

should

apartment

and

eighteenth-

totally unsuited

height

book

rules

hard-and-fast

for the

designed

and

special use

to

to

middle

the

of

Europe,

will

give

which

were

Gibbs

them.

Thus

should

apartments

essential

to

regard

breadth

architects,and

put, resultingin the lowering of architectural

rules, without

easily

proportions

cases

which

be

may

practicallyadopts
applied

were

in

height proportional

length and

These

writers

architecture

on

the

in

arch."

adopted largelyby English

the

divided

the

of

of

the

that

breadth, but

together

lines

being

the

breadth,

breadth

the

held

Palladio

their

and

length

line,which

exactly the
in his

observes, that

the

than

more

exceeds

by joining both

one

I.

proportions,which, although

apartments
third

length
the

to
"

Book

England.

vaulted, square

height

this, he

excessive

his

In

climate, like Italy,were

hot

these

to follow

century architects

to

the

as

seventeenth

of the

endeavour

the

of value

with

influence

its breadth.

to

was

dealing

119

Palladian

apartments.

ceilingthe height of

flat

his

to

gave

Chapter XXIII.,

the

English buildings

on

he

which

height

SCHOOL

particular has

no

marked

so

HIS

AND

PALLADIO

qualityof

be

to

were

design

be

to

mere

fitness

and

propriety.
the

On

continent

to have

writers

Quatremere

de
all

master

in

modern

school

In

for

masters

school.

Quincy

became

Europe,

and

Germany

that

country
and

even

certain

exercised

in civil

it

to

influence,and

the
in

is held

certain

according to

universallyfollowed

most

some

by

sort

the

chief

of

the

buildings.
certain

seems
was

Palladio

too

France

much
to

that

little influence

indebted

produce

any

was

felt,

other

Italian

specimen

of the

to

ANDREA

120

As

France, says Boffrand, Milizia, in

l'Ecole
trouvds," and Goudouin, in

to

enfants

from

of

Palladio, but

their

de

Mddicine,"

ing
works, although differ-

architecture,are

contemporary

l'H6pitaldes

"

"

followers

were

PALLADIO

mens
strikingspeci-

not

of his school.
In

regard

during

the

Elizabethan

architecture

had

and

been

be

it must

England,

to

borne

the

Jacobean periods
without

used

any

of

the

designers,and

pleasingcombinations

were

liness

and

about

altered

by

harmony
the

of

special reference

to

orders

trained

their

the

of

of

Inigo Jones (1572-1652)

student

so

England,

in

those

of

period, in

transition

garden facade
north
His

south

and

St.

made

but

way,
his

naturalized
the

great

Renaissance,

style.

in

The

or

as

notes
went

remarks

England,
of the

master

detail,as

he

became, in short, saturated

he

in the

seen

in the

on

with
and

did

had

his
and

beautiful

and

in

college.

own

copy

his

task

each

him

in

of
no

building

Inigo Jones

Palladianism, whose

through

the

same

his

about

no

as

Elizabethan

thereon.

Palladio

work
came
be-

English fullydeveloped Classic

it is sometimes

change

however,

expiring

the

that

works

carefully examined
and

notes

every

Palladian

confessed

master's

quadrangle

that

of

of

John's College, Oxford,

Italy,and

book, show

half-hearted

the

be

He,

the

sides of the

in

journeys

Palladio's

and

of

his

Palladio.

Jacobean stylecontributed

Henceforward

pioneer

it must

which

by

measurements

stock-in-trade

the

was

and

was

mason.

studied

thoroughly

Inigo Jones

the

and

of state-

want

application, which

Palladian

became

architect, carpenter

architecture

is

great English architect.

Palladio

the will and

delightfuland

many

effected,there

introduction

Inigo Jones,
the

although

that

orders

recognizedproportions or rules, but according to

fancy

mind

in

introduced

called
in

the

Anglo-Classic

architectural

style by

PALLADIO

AND
of the Classical

Inigo Jones's use

extraordinary
As

in

orders, and

them

returned

he
practice,
Palladio's

far

he

The
and

the

Whitehall
which
with

was

was

in

been

Museum

of the

the

carried

and

1612.

therefore,
be

the

matter

wealth,
Common-

United
of

only part

Chapel Royal

Service

this

Institution)in

magnificent scheme

This

masterpiece shows
Inigo Jones, although working on the

which

I.

lucrative

was

of

he

James

Italyin

to

it must

intervention

but

of

in

(afterwards the

House

out.

his Italian master, gave

for

wife

vited
in-

important design,the great palace at

completed.

most
never

was

the

for

Banqueting

now

of the

the

was

Denmark,

everythingfor another visit

influence
on
English architecture

Jones's
Whitehall,

of

of

master's

our

Inigo Jones

left

regret that, but

in

was

its effect.

proportions

have

must

through Inigo Jones, paramount,

for

reaching in

King

train

121

of architecture

thoroughly

the

the

in

afterwards, when

orders

elsewhere.

by

England

to

SCHOOL

Palladio's

very

and

Vicenza

Copenhagen

to

and

preferred

studied

buildings at

But

results

its

he

mentioned,

HIS

the

skill

lines

of

designs that English character

which
erected
they are distinguished.This buildingwas
1619-1621, and, as already mentioned, forms a small

part only of
of the
In

of

one

the

grandest

architectural

conceptions

Renaissance.
the

facade

the

decorated
festive

to his

under

space

by festoons,
building.

feature

the

speciallysuitable

greater part of the building,which

The

architrave

upper

for

is illustrated

is
a

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

wings
House,

to

was

to
was

the
to

be
main

100

The

feet.

remainder

being

blocks, in design like the

be 75 feet

high
R

divided

into two

curtain

Banqueting
storeys.

PALLADIO

ANDREA

122

The

plan of

As

the chain

have
the

outvied
he

with

obtained

either

the

except

by coupling, or

columns,

J.

the

from

M.

is

the

he

his

ment
govern-

designs

in

has

in many

that

central

two

them

executed

the

In

apparently

each

on

Brydon

new

respects
of

extraordinaryamount

making

all different

are

with

It will be observed

alike

are

late Mr.

Louvre.
"

in what

front is remarkable.
columns

House

The

master.

has

Court.

Jones's magnificent palace

of the

that

Banqueting

his

which

the

of

court

great

vied

Persian

erected

being

are

The

"

the

in connection

court

which

Whitehall.

of which

courtyards,one

as

ings
build-

continuity of English tradition,although

circular

offices

portion

known

; the

masterpiece

occasionally broken,

is
a

would

round

the

showing

schemed

arranged

circular,and

be

to

was

was

be

to

were

this structure

variety

stolid

adjacent

two

no

Classic

the

ones,

others,

three-quarteror

side

of the

central

half

axis

of

building.
There

which

is

well

It

In

the

showed

the

arrangement

and

of

the

Stuarts

the

field for the

his

lavished

the details

of

the

excelled

in such

pieces.

His

said
with

were

of

genius

the

on

of
of

the

"

Court

Inigo Jones

works

principles.

Inigo Jones

architectural
in which

the

detail.
ment
orna-

Jones, however, carried

exterior.

as

of

shells

style throughout
features

design.

his Palladian
best

his

mostly

of

building

the

interior

doors, windows

and
fittings,
and
chimney-

deeply coffered

introduced

the bold

Among

displayof

the whole

design

extraordinaryknowledge
buildingswere

was

that

decoration

interior

Palladio's

methods

in
"

first found

dignityabout

Palladio's

expresses

was

Masques

sobrietyand

style of

others

influence

from

may

of

it is
ceilingsin compartments
France, but they accord perfectly

his architecture.

Inigo Jones's works

be

mentioned

the

which

river facade

show
of

dian
PallaGreen-

PALLADIO

this

the

building

huge

Corinthian

Paul's

Covent

the

lower

two

Garden,

houses

in

portions

of

In

pupils.
under

one

St.

Gate, London,
Lincoln's

Wilton

Stoke

his

included

are

Water

bridge,and

Palladian

storeys

123

of

one

York

order.

House,

Chevening

SCHOOL

by Webb,

Hospital, executed

wich

HIS

AND

Inn

including

House,

mentioned

be

Park, may

Fields,

as

other

typicalexamples.
This
latter building,erected

direct

Palladian

central

block,

corps

colonnades, with

been

have
of

which

Plate

de

logis,has

library and

the

chapel

there

illustrations

are

plan.

The

his

visit

as

This

Palladio

which

of

must

Italy,and

to

Palladio's

in

end.

designed by

or

by Jones during

seen

very

wings

either

at

Vicenza, several

of

shows

semicircular

erected

of many

one

neighbourhood

the

in

1630-1634,

influence, especially in

or

type of plan is

in

book.

See

31.
enthusiasm

The

Inigo Jones
for

by

Sir

is well

House,

latter

Sloane, who

Hans

Chelsea,

Burlington (1695-1753)

and

known,

the

by

gateway

Lord

of

given

was

had

Chiswick

to

it is recorded
to

Lord

it removed

design

Burlington

from

where

House,

how

for

Beaufort

it may

still be

seen.

Pope

has

the

followinglines

"

Gate, how

cam'st
from

brought

was

Batter'd

with

wind

Inigo Jones put

alone

me

and

me

Burlington
with

for Whitehall
as

genius of

these

two

also

his

showing

here ?

Chelsea

last year

weather.

together ;

Burlington brought
Lord

thou

gateway

Sloane

Sir Hans
Let

this

on

own

the

me

hither."

published Inigo Jones's designs

and

high

architects.

those

of

estimation

Kent
he

; this

held

is interestin

for

the

ANDREA

124
Thus

the

there

the

interest

in the works

of

have

to

other

to

familiarize

of

artists

of

much

the

the art

have

that

used

one

of the

His

tion
collec-

of works

and

much

helped very

entourage, and

his

had

such

Palladian

has

Palladio, which

has

to
an

architecture.

English

on

life

the

term

much

much

dignifiedcharacter

of

than

more

the

novelists

by

even

for

to

eighteenth-century

architecture.

Giacomo

Leoni
in 17 15,

translation

of Palladio
he

England

published

Hall,

also
of

important buildings,
have

must

architecture.

published

Alberti, the

in the

Remaining

year.

Park, etc., which

Moor

contemporary

Leoni

of

Lord

by

help

to

appear
that

in

number

England

to

over

it would
especially

executed

Latham

influenced

brought

was

Burlington

as

of

his

artists

his school.

accepted word, meaning

an

the certain

English

in

1726

edition

an

great Florentine

of the

architect.

tecture
archi-

He

died

1746.
The

of
founded
whose

Renaissance

fullydeveloped English

therefore

was

his
works

Italian

seventeenth

style on
he

had

Thus,
or

its first great

given

the

elsewhere.
on

and

peculiaritiesto

Palladio, and

express

in

the

great

extraordinary likingand

an

period,must

is this the case,

been

of

such

and

was

latter's

Italy,and

to

Palladio

of Palladio

their

popularized
So

in

visits

acquired

extraordinaryinfluence

art

his

of the

later

He

great.

very

and

the

on

drawings by Palladio, already mentioned,

by

long

been

Inigo Jones

works

seems

Burlington

have

During

day, he

have

of

Palladio.

among

Lord

must

passionate admirer

master,

of

influence

Renaissance

English

PALLADIO

rather

that
studied

impulse

century
his

of
so

by

the

ment
commence-

Inigo Jones,

great

master,

thoroughly

although founding
Palladian

at

architecture

his

precedent,he

who

Palladio,

in Vicenza

and

designs largely
gave

to

them

HIS

AND

PALLADIO

SCHOOL

125

them, in
peculiarlyEnglish character, attempting to make
his own
words, "solid, proportional,according to rules,

with
a

tradition

of the

who

architects

English

of

close

the

interruptions to

body

This

unaffected."

and

masculine

continued

was

eighteenthcentury by
in

were

general

fluenced
in-

way

thereby.
To
the

at
"space

architects

step by step would

this progress

trace

disposal,but

our

and

works

their

glance

will

at

help

take

of the

few

principal
the

understand

to

us

beyond

us

development.
for

(pupiland

Webb

John
and

Dr.

of

Christ

Henry

Aldrich

erected
the

and

Church,

Jones) was

Wiltshire, in the

House,

Amesbury

of

nephew

the

responsible

Palladian

Peckwater

church

and

manner,

Quadrangle
of

All

before

the

campanile

Saints, Oxford.
Sir
death

Christopher Wren

of

Inigo Jones

that of

was

in

born

was

rather

than

extraordinary opportunitiesopened
other

in

London

fire of

buildings

His

1666.

at Paris

his

1652. Although

of science

man

twenty years

study

of

French

gives a

architect,he had

an

to

up

early education

him

by

the

Louvre

tinge to

of the

leader
The

the

with

compared

French

Jones

his

on

of

number

and

designs

portico
bears

the
Wren

the

the

old

impress
was

Vignola
work

influence

had

the

of his

in character

who

the

was

executed

of

direct

would

act

Palladio
result

by
and

of

Inigo

leaving a

models

as

Sir

for

ceeding
suc-

architects.

St. Paul's, London

to

of

amount

buildings which

generationsof
Besides

of

and

school.

extraordinary

Christopher Wren,

methods

great

some

Palladian
work, but it is,in general,essentially
as

the

Gothic

(Jones

church

of Palladio

which

in the

responsible for

had

the

added
it

Classical

which
replaced),

sturdiness

of its conception,

building of

some

fifty-

126

ANDREA

three

churches

years

1670-1711.

in the

influence

of the

columns

and

the

At
the

of

of these

most

Palladian

carried

Wren

his

of

Palladian

Greenwich

river),in

design

the

Bar, London

Temple

scale and

Herts),are

(now

examples

Palladian

erected

followed

and

Jones,
The

important

most

form

Stowe

House,

and

or

removed

in

and

the

plans

have

tribute

Robert

Adam,

and

views

Park,

In

are

the

by Inigo

the

century, and

influence.
Hall

as

peculiarItalian

Norfolk,

at

as

and

consisting
with

(1730),there
shown

in

Kedlestone

all notable

cases,

are

of

many

the

are

in

English architecture,as
The

country

traditional

upon

family rooms

some

plan

types

of

of

during

reception and

of

alreadymentioned.

and

Britannicus," by Colin

Palladian

to

Kent

influenced

of

erected.

erected

houses

which

improved

"Vitruvius

Hall, by W.

Similar

portion

great number

by others, were

of

Inigo Jones's

Theobald's

to

from

College,Blackheath,

England

otherwise.

Holkham

wings.
must

block

central

quadrant

by

the

Library

furthest

of

only be mentioned, Rainham

Howard,
by Sir John Vanbrugh,

Castle

and

blocks

need

few

eloquent

an

in

furnish

will

Campbell,

of

of

pages

these

in applying
extraordinaryfacility
various
of a
types of building,some

Palladio, imitated

of

plans

bearing

of his

principlesto

were

Court

Hospital,

simple character.
In the eighteenth century
houses

ways,

works

many

treatment

Palace, Morden

Court

Hampton

Classical

novel

many

the

prominent examples.

are

followed, Chelsea

were

in

Hospital (the two

which

of the

use

Inner

the

is discernible

training; amongst

TrinityCollege,Cambridge,

the

the

out

Theatre, Oxford, the

portion of

there

ideals,and

between

erected

entablatures, used

universities

Sheldonian

city of London,

In

their

impress

PALLADIO

wings,

Kedlestone
four

such

Palladio, and
at Stoke

method

of

Park,

treating

PALLADIO
the

floor

ground

offices,and
nobile
In

or

AND

as

basement

SCHOOL

127

storey for the kitchens

placing the principal apartments

floor,is carried

upper

peculiaritiesof

fact, the

appropriateness when
referred

were

HIS

the

by

terms

strong

piano

buildings.

style,and

suit the

to

the

on

of these

Palladian

unaltered

in

to

in most

out

and

its in-

English climate,

the

satirists

of

the

day.
Thus

writes

in

Pope

of

one

his

the

epistlesto

Earl

of

Burlington :
show

You

"

pompous

Yet

shall,my

Fill half

Rome

us

And

buildings once
lord, your

the land

Who

random

And

of

one

Load

some

Turn

arcs

glorious not

was

with

vain

of

things

were

noble

just,your

imitating fools

drawings
beauty

profuse

from

many

church

with

triumph

to

use.

rules

sheets

your

blunders

of

shall take

make

old theatric

garden gate

state,

*****

Shall

call the winds

Proud

and

Symmetry
in

cold

at

grandeur

Venetian

arcades

Nicholas

disciplesof

Hawksmoor

1734), Sir John Vanbrugh

qualitieswhich

the

Palladian

(1666-1726),James

Gibbs

Burlington (1695-1753),

Adam

(d. 1743),William

(1728-1792), and

(1726-1796),

stand

Palladio

and

Inigo Jones,

national

elements

Sir
his

"

William

Treatise

carried

on

the

out

of the
Chambers

on

Sir

and

the

as

English
by
of the

Talman

as

Kent

the

(1683-

(d. 1715),

(1684-1748),

William

pre-eminently

the Decorative

traditions

large

Campbell (d.

the

Robert

(1666-1763), Colin

Archer

of

in

dominated
pre-

School.

1754),Thomas
Earl

roar,

door."

the

were

to

eighteenth-centuryarchitecture,due

the

to

measure

catch

to

through long

Chambers

followers

developers

of the

of

truly

Renaissance.

his

writings,and

Part

of Civil

especially

Architecture,"

Anglo-Palladian School,

and

128

ANDREA

objected
beginning

his

till

English

by

ago

and

will

good

simplicity
chief

the

the

in

see

and

it

the

was

then

Palladio

and

the

to

very

who

commenced.

of

and

each

the

for

all

peculiar

Continent.

the

the

architect,

striving

turn

although

field

English
our

in

kind,

special

studied

modern
of

The

time,

hold

on

have

of

tradition

century,

present

said
of

traditions

have

counterpart

no

influence

stateliness

qualities.

is

best

the
the

of

be

may

of

with

revivals

At

those

School

Renaissance

architects.

that

deal

which

nineteenth
of

age

having

the

up

the

In

churches,

save

think

architecture

bound

was

style

England,
We

the

century

and

Gothic

Renaissance

pages

up,

favoured

buildings

within
followers

the

Greek,

the

of

felt.

broken

being

been

revival

architecture.

English

to

be

to

Thus

Greek

the

to

PALLADIO

after

foregoing
architecture
in

repose

which

are

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j?

CHISWICK

PRESS
TOOKS

PRINTED

COURT,

BY

CHARLES

CHANCERY

WHITT1NGHAM

LANE,

LONDON.

AND

CO.

4th