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Andrea Palladio
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Discussses the life and work of architect Andrea Palladio and his effect on modern architecture.... More...
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Paper Abstract:
Discussses the life and work and influence of Italian Renaissance architect Andrea Palladio and his effect on modern architecture. His use of new ideas and new forms to express classical building construction. His philosophy. Key characteristics of his work. His recognition as one of the founders of modern architecture.
Paper Introduction:
Architectural Greatness Andrea Palladio Introduction Andrea Palladio has been characterized as the greatestarchitect of the Italian Renaissance associated with the Venetian style Fleming As the author of the highly influential Four Books ofArchitecture published in Venice in Palladio has left posterity adetailed discussion of his philosophy of architecture Palladio paideloquent tribute to his own model the ancient Roman Vitrubius whosewritings stimulated Palladio\'s study of the classical buildings in Rome Palladio\'s thought and his style have had a wide and long-lasting influenceon architecture
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Fort Worth, TX: Harcourt Brace College Publishers.Gable, C.I. 141) stated thatthe architect's training "more nearly approximates the modern idea of thearchitect as a trained professional" than that of his contemporaries,including Bramante, Sangallo, Raphael and Michelangelo. Born in Padua,Italy, in 158 , Palladio worked his way up the artistic and socialhierarchy to become, by his death in 158 , the unofficial first architectof Venice. The plan also depicts the Palladianemphasis on having exterior views available from virtually all interiorrooms and the use of loggias and porticos to link the interior and theexertion of the villa. (1952). He also wrote a guide to the classical ruins of Rome,prompted presumably by his own frustrations in attempting to locate variousmonuments during his visits to that city. From Palladio to modernistssuch as Tzonis and Lefaivre, this debate has centered on the subtleties ofthe relationships of the parts to the whole and the perfection of thesymphonic achievement. However, whileClassical references abound in these buildings, Palladio was also a"mannerist" who exhibited what Adams (1997, p. His inspiration here is said to have been the Classical Roman baths with their rooms on three scales. Adams (1997) hassuggested that this architect and his contemporaries in the visual andstructural arts participated in the classical revival and the introductionof a new secular humanism into then-contemporary thought. It is the purpose of this analysis to examine the life, work, andinfluence of Palladio. As Gardner (1952, p. (2 3). New York: Abrams.Palladio. [pic] (Source: Gable, 2 3, p. Anthony Antoniades (1992), in a discussion of the origins of thepoetics of modern architecture, has made extensive reference to theinfluence of Palladio. Gable (2 3, p. The pedimentidea is repeated in a small triangle above the entrance and in the sideangles at the roof level. Berkeley, CA: University of California Press.Census of the Villas. The Arithmetic Mean, . Palladio's major villas - the residential style that Adams(1997) describes as most intimately associated with this architect, areidentified in the following Table. As a result, Palladio's architecturalinsights and solutions remain vital and relevant; the next section of thisreport will consider Palladio's influence on modern architecture. 1542-7, 155 -5 || | |Bertisina (Vicenza) | || | |Villa Pisani-Ferri |1542-4, c. 7) argues thatPalladio accomplished marvels: First, and fundamentally, Palladio states that the parts of a house must correspond to the whole and to each other. (1992). [pic] The second identified by Gable (2 3), Type II, borrows the Greektemple front. Third, Trissino bestowed upon Andrea the name by which he was to become famous: Palladio. Palladio never visited Greece or saw the Greek monuments, buthe visited Rome five times, where he saw Roman reinterpretations of Greekarchitectural form. Raeburn (1988) notes that the so-called "Mannerist" style, inwhich Palladio was a major participant if not a strict adherent, movedquickly from Italy to the rest of Europe. M. In Vicenza he became anassistant in the leading workshop of stonecutters and masons where helearned the rudiments of architectural design (Palladio's Life, 2 3). Only 35 of his villas survive of the almost 14 that he isbelieved to have constructed or designed in his lifetime. It was begun the year of his death and finishedlater by Scamozzi. Art and Ideas. New York: Summit Books.Fleming, W. Specifically, Palladio identified the following forms and ratios,which reflect musical consonances:| ||1. In part because of his publishing efforts, Palladio's ideas weredisseminated to a large audience of European architects and others who hadnot necessarily had the opportunity to view his villas (or his churches)first hand. In his own time, Palladiocertainly influenced Bramante, Raphael and Michelangelo; he also influenceda number of English architects such as Burlington; Raeburn (1988) says that"English Palladianism" in its turn influenced building in the Americas,notably in such structures as Philadelphia's 179 State House, SupremeCourt and Congress Hall complex and 179 Library Hall. della Carita (now theAccademia Museum) and the facade of the church of S. 1558-66? [pic] Gable (2 3) stated that the third type (Type III)developed by Palladio was the most innovative and "modern." Thistype contains a double-columned logia with complete columnsabove and below. With his sons he published atranslation of Caesar's Commentaries and contributed illustrations toDaniele Barbaro's annotated edition of Vitruvius' treatise on classicalarchitecture (Palladio's Life, 2 3). His working life coincided, says Raeburn (1988), with asignificant change in the economy of the Venetian provinces that led tocapital being invested heavily in land rather than in mercantileactivities. (2 3). Double square |[pic] |1:2 || |The exception is the incommensurable proportion of the side of the || |square to its diagonal, or || |1 : square root of 2. Specifically, Fleming (1995) states that the central part of thefaçade of the church becomes the portico of a classical temple completewith columns and pediment to face the high central knave within. Palladio's "Lifestyle" Palladio's "lifestyle," as such, is rarely discussed in theliterature. By studying the principles of Vitruvius, the classical Roman architectwhose treatise had been rediscovered in the prior century, and of theRenaissance commentator, Leon Battista Alberti, Palladio increased hisknowledge of the fundamental principles of classical Roman architecture.Personal contact acquainted him with the ideas and works of pioneeringarchitects of his own period, including Giulio Romano, Giovanni MariaFalconetto, Sebastiano Serlio and Michele Sanmicheli. In this structure, Palladio addressed the problem ofreconciling the Greco Roman temple with the traditional oblong Christianbasilica plan. While Palladio is, as Adams (1997)commented, known for his churches and palaces, it is his villas asdescribed above that tend to be most significant in the minds ofcontemporary architects. Rome was, of course, a natural and vital destination for anarchitect interested in classical architectural forms. (2 3). Conclusion This essay has examined the work of Andrea Palladio and hasdemonstrated that Palladio's influence remains vital in the world ofcontemporary architecture. With respect to the need for harmony, Gable (2 3, p. The book set out his architectural principles as well as practical advice for builders. Palladio's style, says Adams (1997), drew heavily upon classical Romanarchitecture. Thus,one can argue effectively that many of the specific strategies developed byPalladio are still in common use today. To use a currently fashionable term, the concept of the floor plan is transparent. 1549-56 || | |Poiana Maggiore (Vicenza) | || | |Villa Zen |c. (1989). Available at www.boglewood.com/palladio/analysis.html.Gardner, H. And it becomes a cornerstone of Palladian villas. Palladio was apprenticed to a stonecutter in Padua when he was 13years old. 1548/9-52, || | |Caldogno (Vicenza) |1569-7 || | |Villa Saraceno-Lombardi |c. Square |[pic] |1:1 ||3. M. Lasting peace -- at least in a relative sense -- had come to the Veneto. Circular | |[pic] ||2. New York: Harcourt, Brace and Company.Janson, H. No stranger to hard work, Palladio was an integral element in thevirtual explosion of innovation that characterized the High Renaissance inItaly (Adams, 1997). Suggesting Pallas Athene, the Greek goddess of wisdom, the name was also used by Trissino for an angelic messenger in an epic poem which he composed during the same period (Palladio's Life, 2 3, p. 1). (1995). History of Art. Surprisingly, despite numerous efforts, Palladionever received any secular commissions in the city of Venice (Palladio'sLife, 2 3). The most critical element, perhaps, was the set of meticulous woodcut illustrations drawn from his own works to illustrate the text. A square plus a half |[pic] |2:3 ||6. della Presentazione). Thus, Palladio enjoyed in his prime a unique opportunity todesign and build numerous public and private structures for the Venetianmerchants and nobles. The "Lifestyle" portrait of Palladio, who married and had children(including sons who followed in his footsteps, though not as successfully),suggests that he must have been a dedicated, conscientious and ambitiousman. Raeburn (1988) noted as well that the wealthy citizens and nobility ofVenice and other Italian cities - including members of the Roman Catholicclergy - built lavishly and spent prodigiously on art and architecture.However valued and admired a Palladio or a Michelangelo may have been,however, these artists and architects worked at the will of their patrons.They competed with one another for commissions and patronage and oftenlived in the homes of their patrons. This plan is based on thesquare and is presented below. Secondly, the three-opening loggia -- certainly not a new idea either -- has been combined with other elements in a way that begins to open the villa to the world outside. Palladio's Influence on Modern Architecture Janson (1986) says that Palladio believed that architecture must begoverned by reason and by certain universal rules that were perfectlyexemplified by the buildings of the ancients. However, as Gardner (1952) and Janson (1986) have both pointedout, the artists and architects of the Italian Renaissance were highlyregarded members of society. They interacted freely and often with theirwealthy and powerful clients, many of whom became "patrons" who employed anartist or architect on multiple occasions to complete private and publicstructures and to decorate those structures. What the plan depicts, says Adams (1997),is a careful depiction of the relationship between a central room and theadjacent "side" rooms and halls. Table 1 Census of Palladio's Villas| | |Villa Godi-Malinverni |1537-42, 1549-52 || | |Lonego di Lugo (Vicenza) | || | |Villa Valmarana-Bressan |1541-3 || | |Vigadolo di Monticello Conte Otto | || | |(Vicenza) | || | |Villa Forni-Costa |156 s [?] [cf || | |Montecchio Precalcino (Vicenza) |1541-2] || | |Villa Gazzotti-Marcello |c. Available at www.aboutscotland.com /harmony/prop3.html.Palladio's Life. The association affected Andrea in at least three ways: First, Trissino immediately assumed the role of Andrea's mentor and set about the task of introducing him to the principles of classical architecture and the other disciplines of Renaissance education. The last building Palladio undertook was the Olympic Theater atVicenza (Fleming, 1995). 2), There he saw, mostly in ruins, the classic public buildings of Imperial Rome -- which the Romans, of course, had borrowed from the Greeks. One can certainly find elements of this style in any Americansuburb or, perhaps more significantly, in state houses and governmentalstructures across the country (Raeburn, 1988). A square plus a third |[pic] |3:4 ||5. 1). As significantly, his influence on latergenerations of Western architects has been extensive. Giorgio Maggiore, IlRedentore and "Le Zitelle" (S. Secondly, Palladio varies the volumetric size of his rooms with the creativity and discipline of a Bach fugue. The diagonal of the square |[pic] |1:1.414....etc. The great, devastating War of the League of Cambrai -- was now 3 years in the past. New York: McGraw-Hill.Antoniades, A. The triangle,for example, is far more prominent in contemporary architecture than it wasduring Palladio's era, in which the square, cube and circle were moresignificant and viewed more positively. Raeburn (1988) commented that by the late 18th century, many copiesof Palladio and of works inspired by him had reached America. Lucia, was razed in the mid-nineteenth century to make way forthe railroad station). Palladio emerges from this discussion as a giant in thefield of architecture. It will be demonstrated that Palladio's workpresented references to Roman antiquity and classical building constructionwhile simultaneously ushering in the emergence of new ideas and new formsfor the expression of these ideas (Gardner, 1952). 2). 465) puts it, "Hispublished drawings of Roman ruins spread the influence of the Academicschool across Europe and eventually to the Americas." While villas such as those described above remained a largely Italianphenomenon, the new principles of domestic architecture promulgated byPalladio spread across Europe in the late sixteenth century (Raeburn,1988). This belief has resonatedwith subsequent generations of architects in Western Europe, the UnitedStates, and elsewhere in the world. In England, architect Robert Adam was a primary interpreter of thePalladian style. Whatsubsequent generations of architects and builders draw from Palladio wasthe seriousness and dignity of early Roman architecture and itsreinterpretation in the works of Palladio. Another key characteristic of Palladio's work was that all of hisbuildings were highly functional with each element playing a role in thestructure of the building and its harmonious presentation. Available at www.bogglewood.com /palladio/home.html.Cole, B., and Gealt, A. Overview of Palladio's Major Works and Building Techniques Though it is Palladio's villas that are most prominently associatedwith his name and legacy, Fleming (1995) has noted that Palladio is alsoassociated with a number of public structures such as the Church of IlRedentore in Venice. Other religious structures in Venice were then given tohim, including the cloister of the monastery of S. Adams (1997) argues that Palladio was the single most influentialarchitect of his generation. Rudolf Arnheim (1977) credits Palladio with providing modernarchitects with several excellent strategies for puncturing the boundary ofthe solid block that render buildings more dynamic and less static. This broken pediment motif was laterincorporated into the Baroque mentality. He broke this contract, agreed to by his father, after only 18months and fled to the nearby town of Vicenza. Thisinfluence remains strong some 4 -plus years after Palladio's life and workand is likely to continue influencing architects in the future. ||4. Modern architecture, of course, has moved toward the use ofmachine technology in a manner which is certainly not anticipated in thework of Palladio. || |(This proportion often occurs in both architecture and painting) |(Source: Palladio, 2 3.When Palladio goes on to talk about the generation of the height of rooms,he elucidates three types of proportion which are traditionally thought tohave been discovered by Pythagoras: . Since a classical temple is of uniform height with a simpleshed roof and a Christian basilica has a Latin-cross ground plan with acentral knave rising high above two side aisles, his solution to theproblem showed great ingenuity. Though Palladio concentrated his efforts in thearea surrounding Venice and the Veneto, he traveled extensively throughoutItaly. As the author of the highly influential Four Books ofArchitecture published in Venice in 157 , Palladio has left posterity adetailed discussion of his philosophy of architecture. Standing in one of Palladio's villas -- and I mean standing anywhere in it -- you have at all times a sense of where you are within the total structure. 346) has commented, "clearly inspired by ancientRoman amphitheaters, the Olympic has, in turn, been the inspiration formany later theaters, including one of London's largest, the Palladium." Cole and Gealt (1989) have asserted that many of these same elementsare visible throughout Thomas Jefferson's plan for Monticello and in manybuildings constructed in seventeenth and eighteenth century England. 8). (1986). Perira Associates for the University of California, San Diego. The villas,which will be discussed below, so impressed architects such as Inigo Jonesand Christopher Wren that the Palladian motif has been replicated in manyplaces in many different time periods. (Another Palladianchurch, S. In essence, therefore, the villas represent Palladio's response tothe unique needs of his contemporary world. Palladio's emphasis on forms and rations should also be identifiedherein. Nevertheless, much of modern architecture has turned to asubstantially different geometry than that used by Palladio. Francesco della Vigna.His Venetian works culminated in three churches: S. The whole debate on the aesthetics of classical architecture andthe architecture of the Renaissance as exemplified in large measure byPalladio is seen by this analyst as a debate over the monofunctionalbuilding and the concept of the symphonic. In the villas Palladio re-worked what he perceived to be timeless and universal principles newly re-discovered from the past. (2 3). Specifically, says Antoniades (1992), Palladiocodified understanding of the relationship between musical composition andbuilding. At thattime he was engaged by Gian Giorgio Trissino, one of the period's leadingscholars, to assist in executing new additions which Trissino had designedfor his own villa at Cricoli just outside Vicenza (Palladio's Life, 2 3;Raeburn, 1988). For example,though Palladio's primary interest was in architecture, he was alsoconcerned professionally and personally with Pythagorean philosophyrelating musical ratios to the harmony of the universe (Adams, 1997). This may seem a small thing -- and it certainly has many antecedents -- but I would remind you that it is a striking contrast to the unsymmetrical gothic palaces of Venice. [pic] Gable (2 3 noted that the first motif, the three-opening loggia,appears in Palladio's very first villa: Villa Godi, s constructed about154 . 5) identified several elements in Palladio's villasthat demonstrate innovation and a gradual evolution of style, to wit: First, there is symmetrical balance from left to right. Art of the Western World. Palladio paideloquent tribute to his own model, the ancient Roman Vitrubius, whosewritings stimulated Palladio's study of the classical buildings in Rome.Palladio's thought and his style have had a wide and long-lasting influenceon architecture in such diverse settings as France, England, Ireland, andin the United States (Fleming, 1995). His palaces andvillas as well as his churches are still imitated in Western Europe andAmerica. Under Trissino'ssponsorship, he received further introduction to classical Roman works andto early Renaissance works in Padua and Venice (1538-1539) and a visit toRome (1541) (Palladio's Life, 2 3). (1977). 1545-8 || | |Finale di Agugliaro (Vicenza) | || | |Villa Poiana |c. 1559-65 || | |Fanzolo di Vedelago (Treviso) | || | |Villa Sarego |1552/3?-69 || | |Santa Sofia di Pedemonte (Verona) | || | |Villa Almerico-Valmarana ("La | || | |Rotonda") | || | |Vicenza | | (Source: Census of the Villas, 2 3, p. An overview of Palladio's theories of architectureand a discussion of his position in the Renaissance and some of his mostsignificant buildings will be presented. Says Gable (2 3, p. A similarstrategy, says Arnheim (1977), is found in the library designed by WilliamL. The Life of Palladio In discussing Palladio, Michael Raeburn (1988, p. Palladio's classical style and Manneristorientation advanced the recovery of antiquity while also creating newcanons for functionality had harmony in residential as well as publicstructures. Gable (2 3) offered an analysis of Palladio's building techniquesand his architectural "secrets." Gable (2 3, p. New York: Van Nostrand Reinhold.Arnheim, R. || | |Donegal di Cessalto (Treviso) | || | |Villa Pisani-Placco |1552/3-5 || | |Porta Padova, Montagnana (Padova) | || | |Villa Cornaro-Gable |1551-3 || | |Piombino Dese (Padova) | || | |Villa Barbaro-Volpi |c. Art Through the Ages. There is a certain clumsiness to this first structure as evident inheavy volumes at the left and right reminiscent of the fortress-like villasof the prior century and the early 15 s. Palladio published, as noted above, Four Books of Architecture(Janson, 1986). 1) stated that: Drawing upon his own insights and observations, upon the re-discovered treatise of the Roman writer Vitruvius and the writings of Alberti and Serlio, and (to a lesser degree) upon the works of elders such as Raphael, Falconetto, Sanmicheli and Sansovino, Palladio's devised a solution with three principal elements: dramatic exterior motifs, economical materials and internal harmony and balance. Available at www.bogglewood.com /palladio/home.html.Raeburn, M. Theassociation with moral integrity and harmony made the Palladian style anatural choice for Thomas Jefferson, who used Palladian references andelements in his home at Monticello and structures for the University ofVirginia and the state capital at Richmond, Virginia. S. An example of presented below. Architectural Greatness: Andrea Palladio Introduction Andrea Palladio (1518 - 158 ) has been characterized as the greatestarchitect of the Italian Renaissance associated with the Venetian style(Fleming, 1995). The Harmonic Mean.Each of thee means was necessarily important in designing a building, beit a villa, palace or church. InPalladio's Pallazo Chiericati in Vicenza, for example, the façade isestablished through a tenuous screen of widely spaced columns. || | |Bagnolo di Lonigo (Vicenza) |1561/2-6/9 || | |Villa Caldogno |c. C. Second, Trissino introduced his protégé to an ever widening circle of patrons, first in Vicenza, then in Padua, and finally in Venice itself. The Dynamics of Architectural Form. In 165 Palladio received his first commission for a work in Veniceproper: completion of the refectory for the Benedictine monastery of SanGiorgio Maggiore. 1549/51-8 || | |Maser (Treviso) | || | |Villa Chiericati-Rigo |1547/8-54, 1574-8 || | |Vancimuglio (Vicenza) | || | |Villa Badoer |1556/7-63 || | |Fratta Polesine (Rovigo) | || | |Villa Foscari ("La Malcontenta") |1558-6 || | |Malcontenta di Mira (Venezia) | || | |Villa Emo-Capodolista |c. Next, in 157 , ...following years of preparation, he published in Venice the masterwork that ensured his place in architectural history, I Quattro Libri dell' Architettura [The Four Books of Architecture]. Lifestyle issues impacting uponPalladio's advancement into the premier ranks of Renaissance architectswill also be considered. This seems simple in theory but has proved nearly impossible for most of posterity's Palladio wannabes. The Geometric Mean, . (1988). 7) presented an excellent example of this drive forharmony in the plan of one of Palladio's villas. A History of Western Art. A sketch of this typeis presented below. An ingenious device to create the feeling of deep spaceis evident in the central arch from which actors made their entrances - arising ramp flanked by building facades which recedes about 5 feet whilecreating the illusion of a long avenue leading to a distant city square.As Fleming (1995, p. Gable (2 3, p. The Secrets of Palladio's Villas. The life of an architect of Palladio's era was of necessity a life oftravel and frequent moves. The style alsospread to Poland, where it is evident in Zawadzki's mansion at Lubostrombuilt in the 179 s (Raeburn, 1988). Some of these notable figures,including Palladio, maintained their own workshops and studios as well asprivate homes. Zs As it happens, the needs of his time haveremained needs of the modern world. Poetics of Architecture. London: Popular Press. It was Palladio's inspiration to adapt the Greek pediment and columns to private residences -- an audacious step, and one that could only be taken by a confident architect with proud patrons.Type II Palladian structures are depicted below. His life was transformed in 1537, when he was 3 years old. (1997). The work was subsequently translated into every European language and remains in print today both in paperback and hardcover )Palladio's Life, 2 3, p. Finally, as to the shapes of individual rooms, he offers up a smorgasbord of possibilities, from the square and the circle to rectangles in a variety of ratios of width to length. Compare that with a large modern house where you never know what twist or turn or size or shape of room may lie around the next corner. As of 1538, aided by his mentor Trissino's influence, Palladio'sworkshop had begun construction of Villa Godi, the first of a series ofcountry villas and urban palaces designed by Palladio in the followingyears for patrons among the provincial nobility of Vicenza (Gardner, 1952;Raeburn, 1988; Palladio's life, 2 3). ReferencesAdams, L. Adam's "Palladianism" also influenced generations ofAmerican architects who found in the serene exteriors and harmoniousinteriors of the style an ideal set of canons for both public and privatespaces. That fact is subtly underscored by Villa Godi. A square plus two-thirds |[pic] |3:5 ||7. Architecture of the Western World. Thewealth and aspirations of these new patrons evoked from Palladio a seriesof grand and innovative creations of his middle period upon which hisinfluence on all later Western architecture is based (Palladio's Life,2 3). However, Palladio is recognized as one of the foundingfigures of modern architecture and his theories and ideas are still studiedand copied today. Villa Trissino, the villa inCricoli that Palladio's great benefactor Giangiorgio Trissino built two orthree years earlier, serves as an example. Ten years later, the architect began to receive commissions forcountry villas from prominent and wealthy leaders of the nobility of Veniceitself, such as Daniele and Marc 'Antonio Barbaro and Giorgio Cornaro. W. Indeed, Antoniades (1992) argues that modern architecture, despiteits emphasis on making more economical buildings through the use of machinetechnologies, has not abandoned the search for symphonic perfection andharmony of design and function that preoccupied Palladio and his immediatesuccessors. 315) calls "the tendency tojuxtapose form and space in a way that is inconsistent with Classicalarrangements." Palladio ultimately developed three primary types of exteriorelevation that are now characterized as "Palladian." Gable (2 3) says thatthe simplest, most modest and most numerous among the constructed works,Type I, presents a loggia pierced by three openings. The cuteangles of a fragmentary second pediment face the side aisles.
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