The Perfect House: A Journey with Renaissance Master Andrea Palladio
Page 23
11. Vitruvius, The Ten Books on Architecture, trans. Morris Hicky Morgan (New York: Dover Publications, 1960), 51.
12. Ibid., 112.
13. Paul Johnson, The Renaissance: A Short History (New York: The Modern Library, 2000), 79.
14. Lewis, Drawings, 198.
15. Forssman, Visible Harmony.
16. Andrea Palladio, The Four Books on Architecture, trans. Robert Tavernor and Richard Schofield (Cambridge, Mass.: MIT Press, 1997), 128.
17. See Douglas Lewis, “Patterns of Preference: Patronage of Sixteenth-Century Architects by the Venetian Patriciate,” in Patronage in the Renaissance, eds. Guy Fitch Lytle and Stephen Orgel (Princeton, N.J.: Princeton University Press, 1981), 374.
18. Palladio, Four Books, 57.
19. Rudolf Wittkower, Architectural Principles in the Age of Humanism (London: Academy Editions, 1998), 119–29.
20. Ibid., 111.
21. Ibid., 122.
22. Deborah Howard and Malcolm Longair, “Harmonic Proportion and Palladio’s Quattro Libri,” Journal of the Society of Architectural Historians 41, no. 2 (May 1982): 116–42.
23. Ibid., 116.
24. Ibid., 137.
25. Vitruvius, Ten Books, 180.
26. Palladio, Four Books, 59.
27. Ibid., 128.
28. Quoted in Harold Donaldson Eberlein and Robert B. C. M. Carrère, “Villas of the Veneto: I. The Villa Emo at Fanzolo,” The Architectural Forum 34, no. 1 (January 1921): 6.
29. Palladio, Four Books, 77.
30. Howard Burns, Andrea Palladio, 1508–1580: The portico and the farmyard (London: The Arts Council of Great Britain, 1975), 69.
31. James S. Ackerman, Distance Points: Essays in Theory and Renaissance Art and Architecture (Cambridge, Mass.: MIT Press, 1991), 365.
32. Michael Baxandall, Painting and Experience in Fifteenth-Century Italy (New York: Oxford University Press, 1972), 6–7.
33. Quoted by Howard Burns, “Building and Construction in Palladio’s Vicenza,” in Les chantiers de la Renaissance, ed. J. Guillaume (Paris: Picard, 1991), 212.
34. Ibid., 75.
35. Burns, Andrea Palladio, 69.
36. Manfredo Tafuri, Venice and the Renaissance, trans. Jessica Levine (Cambridge, Mass.: MIT Press, 1989), 130.
CHAPTER 5: PORTICOES
1. See Douglas Lewis, “Patterns of Preference: Patronage of Sixteenth-Century Architects by the Venetian Patriciate,” in Patronage in the Renaissance, eds. Guy Fitch Lytle and Stephen Orgel (Princeton, N.J.: Princeton University Press, 1981), 372–74.
2. Andrea Palladio, The Four Books on Architecture, trans. Robert Tavernor and Richard Schofield (Cambridge, Mass.: MIT Press, 1997), 112.
3. My thanks to Douglas Lewis, who is writing a monograph on the Villa Cornaro, for suggesting how the upper sala was used.
4. Palladio, Four Books, 79.
5. John Summerson, Inigo Jones (New Haven, Conn.: Yale University Press, 2000), 107.
6. Ibid., 4.
7. A. A. Tait, “Inigo Jones—Architectural Historian,” Burlington Magazine 112 (1970): 234–35.
8. Quoted by Nikolaus Pevsner, An Outline of European Architecture (Harmondsworth, U.K.: Penguin, 1958), 219–20.
9. Ibid.
10. Colen Campbell, Vitruvius Britannicus, or the British Architect, vol. 1 (London, 1715), 1–2.
11. James Gibbs, A book of Architecture, containing designs of buildings and ornaments (London: 1739).
12. Richard L. Bushman, The Refinement of America: Persons, Houses, Cities (New York: Alfred A. Knopf, 1991), 102.
13. Robert Morris, Select Architecture (London, 1757), unpaginated.
14. Ibid., Plate 36.
15. Ibid., unpaginated.
16. Bushman, Refinement of America, xii–xiii.
17. Thomas Jefferson, Notes on the State of Virginia, ed. William Peden (Chapel Hill: University of North Carolina Press, 1955), 152.
18. Quoted by Jack McLaughlin, Jefferson and Monticello: The Biography of a Builder (New York: Henry Holt, 1998), 54.
19. Henry Wotton, The Elements of Architecture (London: 1624), 10.
20. Alexander Pope, Epistle to Lord Burlington (London, 1731).
CHAPTER 6: THE BROTHERS BARBARO
1. Douglas Lewis, The Drawings of Andrea Palladio (New Orleans: Martin & St. Martin, 2000), 204.
2. Quoted by Lionello Puppi, The Villa Badoer at Fratta Polesine, Corpus Palladium, vol. 7, trans. Catherine Enggass (University Park: Pennsylvania State University Press, 1975), 36.
3. Lionello Puppi, Andrea Palladio, trans. Pearl Sanders (Boston: New York Graphic Society, 1975), 315.
4. Inge Jackson Reist, “Renaissance Harmony: The Villa Barbaro at Maser” (Ph.D. diss., Columbia University, 1985), 130–66.
5. Howard Burns, Andrea Palladio, 1508–1580: The portico and the farmyard (London: The Arts Council of Great Britain, 1975), 197.
6. Andrea Palladio, The Four Books on Architecture, trans. Robert Tavernor and Richard Schofield (Cambridge, Mass.: MIT Press, 1997), 78.
7. Reist, “Renaissance Harmony,” 10.
8. Ibid., 129.
9. Carolyn Kolb, “The Sculptures on the Nymphaeum Hemicycle of the Villa Barbaro at Maser,” Artibus et Historiae 18, no. 35 (1977): 30.
10. Burns, Andrea Palladio, 196.
11. Palladio, Four Books, 144.
12. Bruce Boucher, “Nature and the Antique in the Work of Andrea Palladio,” Journal of the Society of Architectural Historians 59, no. 3 (September 2000):296.
13. Palladio, Four Books, 77.
14. Ibid.
15. This theatrical use of the terrace was suggested by Douglas Lewis.
16. See Michelangelo Muraro, Venetian Villas: The History and Culture, trans. Peter Lauritzen et al. (New York: Rizzoli, 1986), 146–47.
17. Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors and Architects, trans. Gaston Du C. de Vere, vol. 3 (New York: Harry N. Abrams, 1979), 1580.
18. Kurt W. Forster, “Back to the Farm: Vernacular Architecture and the Development of the Renaissance Villa,” Architectura 1 (1974): 12.
19. Palladio, Four Books, 56.
20. RIBA Palladio XVI/5 verso. See Lewis, Drawings, 203–4.
21. The original has been lost; a copy by John Webb is in the Worcester College Library, I/65. Thanks to Douglas Lewis for providing his own sketch.
22. For different interpretations see Richard Cocke, “Veronese and Daniele Barbaro: The Decoration of Villa Maser,” Journal of the Warburg and Courtauld Institutes 35 (1972): 231–32; Inge Jackson Reist, “Divine Love and Veronese’s Frescoes at the Villa Barbaro,” Art Bulletin 67, no. 4 (December 1985): 622–23; Charles Hope, “Veronese and the Venetian Tradition of Allegory,” British Academy Proceedings 61 (1985): 416; Douglas Lewis, “The Iconography of Veronese’s Frescoes in the Villa Barbaro at Maser,” in Nuovi Studi su Paolo Veronese (Venice: Arsenale, 1990), 319–20.
23. Mary Rogers, “An ideal wife at the Villa Maser: Veronese, the Barbaros and Renaissance theorists of marriage,” Renaissance Studies 7 (December 1993): 379–84.
24. Mary McCarthy, The Stones of Florence and Venice Observed (Harmondsworth, U.K.: Penguin Books, 1985), 264–65.
25. Cocke, “Veronese and Daniele Barbaro,” 226.
CHAPTER 7: AN IMMENSELY PLEASING SIGHT
1. Andrea Palladio, The Four Books on Architecture, trans. Robert Tavernor and Richard Schofield (Cambridge, Mass.: MIT Press, 1997), 126.
2. Ibid.
3. Ibid.
4. Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors and Architects, trans. Gaston Du C. de Vere, vol. 3 (New York: Harry N. Abrams, 1979), 2018.
5. Palladio, Four Books.
6. Ibid.
7. John Summerson, Inigo Jones (New Haven, Conn.: Yale University Press, 2000), 80.
8. Quoted by Georgina Masson, “Palladian Villas as Rural Centres,” Architectural Review, July 1955, 20.
9. Lionello Puppi, The Villa Badoer at Fratta Polesine,
Corpus Palladium, vol. 7, trans. Catherine Enggass (University Park: Pennsylvania State University Press, 1975), 13.
10. Ibid., 35.
11. Palladio, Four Books, 18.
12. Paolo Gualdo, “Life of Palladio” (1616), in Douglas Lewis, The Drawings of Andrea Palladio (New Orleans: Martin & St. Martin, 2000), 12.
13. Puppi, Villa Badoer, 46–47.
14. RIBA Palladio X/1, verso. See Lewis, The Drawings of Andrea Palladio, 164.
15. Facsimile of Inigo Jones’s copy of Andrea Palladio, I quattro libri dell’architettura, vol. 2 (Venice, 1570), 66.
16. Summerson, Inigo Jones, 116.
17. Palladio, Four Books, 138.
18. Allan Greenberg, George Washington Architect (London: Andreas Papadakis Publisher, 1999), 20.
19. Allan Greenberg: Selected Works, Architectural Monograph No. 39 (London: Academy Editions, 1995), 86–101.
20. Ibid., 75–79.
21. Palladio, Four Books, 156.
CHAPTER 8: EMO
1. Andrea Palladio, The Four Books on Architecture, trans. Robert Tavernor and Richard Schofield (Cambridge, Mass.: MIT Press, 1997), 133.
2. Vincent Scully, The Villas of Palladio, photographs by Philip Trager (Boston: Little, Brown & Co., 1986), 132.
3. Giampaolo Bordignon Favero, The Villa Emo at Fanzolo, Corpus Palladium, vol. 5, trans. Douglas Lewis (University Park: Pennsylvania State University Press, 1972), 31.
4. Harold Donaldson Eberlein and Robert B. C. M. Carrère, “Villas of the Veneto: I. The Villa Emo at Fanzolo,” Architectural Forum 34, no. 1 (January 1921): 3.
5. Favero, Villa Emo, 25; Martin Kubelik, “Palladio’s Villas in the Tradition of the Veneto Farm,” Assemblage, October 1986, 99–100; Paul Holberton, Palladio’s Villas: Life in the Renaissance Countryside (London: John Murray, 1990), 187–88.
6. Palladio, Four Books, 123. See also Kubelik, “Palladio’s Villas,” 99–100.
7. Palladio, Four Books.
8. Gabriele Poggendorf, Palladio’s Emo in Fanzolo (Berlin: Marcetus Verlag, 1995), 36.
9. Giampaolo Bordignon Favero, Villa Emo, trans. Shirley Guiton (Padua: Romano Bertoncello Brotto Editore, 1983), unpaginated.
10. Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors and Architects, trans. Gaston Du C. de Vere, vol. 3 (New York: Harry N. Abrams, 1979), 2017.
11. Palladio, Four Books, 105.
12. Johann Wolfgang von Goethe, The Flight to Italy: Diary and Selected Letters, trans. T. J. Reed (Oxford: Oxford University Press, 1999), 89.
13. Vasari, Lives, 2016.
14. Tomasso Temanza, Vite dei più celebri architetti e scultori Veneziani (Milan: Edizioni Labor, 1966), 395. Translation by author.
15. Vasari, Lives, 2019.
16. Ibid., 2017.
CHAPTER 9: THE LAST VILLA
1. Andrea Palladio, The Four Books on Architecture, trans. Robert Tavernor and Richard Schofield (Cambridge, Mass.: MIT Press, 1997), 94.
2. Ibid.
3. RIBA Palladio XVII/1. See Douglas Lewis, The Drawings of Andrea Palladio (New Orleans: Martin & St. Martin, 2000), 103.
4. RIBA Palladio XVI/19B. See Lewis, Drawings, 103.
5. Palladio, Four Books, 138.
6. RIBA Palladio IX/8 and IX/7. See Lewis, Drawings, 187–88.
7. Camillo Semenzato, The Rotonda of Andrea Palladio, Corpus Palladium, vol. 1, trans. Ann Percy (University Park: Pennsylvania State University Press, 1968), 12–13, fn. 1.
8. Ibid., 21, fn. 11.
9. Martin Kubelik, “Palladio’s Villas in the Tradition of the Veneto Farm,” Assemblage, October 1986, 107.
10. Johann Wolfgang von Goethe, Italian Journey, trans. W. H. Auden and Elizabeth Mayer (San Francisco: North Point Press, 1982), 50.
11. Johann Wolfgang von Goethe, The Flight to Italy: Diary and Selected Letters, trans. T. J. Reed (Oxford: Oxford University Press, 1999), 46.
12. Vitruvius, The Ten Books on Architecture, trans. Morris Hicky Morgan (New York: Dover Publications, 1960), 73.
13. Semenzato, Rotonda, 21, fn. 12.
14. William Kent, Designs of Inigo Jones, vol. 2 (Farnborough, U.K.: Gregg Press, 1967), plates 14, 16, 17, 18.
15. John Harris, The Palladians (London: Trefoil Books, 1981), 59.
16. Colen Campbell, Vitruvius Brittanicus: or The British Architect, vol. 1 (New York: Benjamin Blom, 1967), 8.
17. RIBA Palladio XVII/15. See Lewis, Drawings, 99.
18. Howard Colvin and John Harris, “The Architect of Foots Cray Place,” Georgian Group Journal 7 (1997): 1–8.
19. Lucille McWane Watson, “Thomas Jefferson’s Other Home,” Antiques, April 1957, 343.
20. Palladio, Four Books, 94.
21. Ibid.
22. See James S. Ackerman, Palladio (New York: Penguin Books, 1966), 70; Robert Tavernor, Palladio and Palladianism (London: Thames and Hudson, 1991), 78.
23. Semenzato, Rotonda, 12–13, fn. 1.
24. Ibid., 5, 67.
25. Lionello Puppi, Andrea Palladio, trans. Pearl Sanders (Boston: New York Graphic Society, 1975), 315–16.
26. Bruce Boucher, “The Last Will of Daniele Barbaro,” Journal of the Warburg and Courtauld Institutes 42 (1979): 280.
27. Ackerman, Palladio, 184.
CHAPTER 10: PALLADIO’S SECRET
1. Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors and Architects, trans. Gaston Du C. de Vere, vol. 3 (New York: Harry N. Abrams, 1979), 2016.
2. Dan Cruikshank, “Jewel in the Crown,” Perspectives, May 1994, 34–38.
3. Richard Haslam, “Villa Saraceno, Veneto, Italy,” Country Life, October 6, 1994, 45.
4. Andrea Palladio, The Four Books of Architecture, trans. Isaac Ware (New York: Dover Publications, 1965), 50–51.
5. Christopher Alexander et al., A Pattern Language: Towns, Buildings, Construction (New York: Oxford University Press, 1977), 877–79.
6. Andrea Palladio, Four Books on Architecture, trans. Robert Tavernor and Richard Schofield (Cambridge, Mass.: MIT Press, 1997), 59.
7. Ibid.
8. Johann Wolfgang von Goethe, Italian Journey, trans. W. H. Auden and Elizabeth Mayer (San Francisco: North Point Press, 1982), 47.
9. Lucy Archer, Raymond Erith: Architect (Burford, Oxfordshire: Cygnet Press, 1985), 75.
10. Palladio, Four Books, 7.
11. John Summerson, Heavenly Mansions: and Other Essays on Architecture (New York: W. W. Norton & Co., 1963), 14.
12. Ottavio Bertotti Scamozzi, Le Fabbriche e I Desegni de Andrea Palladio, vol. 2, (Vicenza: Giovanni Rossi, 1786), Plate 24.
13. Palladio, Four Books (trans. Isaac Ware), 213.
INDEX
Page numbers in italics refer to illustrations.
acanthus leaves, 55, 261, 262
Accademia di Belli Arte, 197
Accademia Trissiniana, 17, 83
Ackerman, James S., xviii, 41, 115, 223
Adam, Robert, 181, 247
agriculture, 38, 89–90, 142, 157, 159, 176, 191
Alberti, Leon Battista, 13, 48, 57
church façades designed by, 153, 199
Composite order identified by, 55
on villas as summer retreats, 101, 103
Vitruvius reworked by, 40, 90
all’antica style, 16, 17–18, 19, 93, 133, 160, 177, 197, 241–43
All the Works of Architecture and Perspective (Tutte l’opere d’architettura et perspectiva) (Serlio), 20
Almerico, Paolo, 219, 220
amezati, 61, 63
Ammannati, Bartolomeo, 148
Angarano, Giacomo, 146–47, 221
Anne of Denmark, Queen of James I, King of England, 133, 135
Antichità di Roma, L’ (Palladio), 41
Antonini, Florio, 125, 155
apses, 36, 42, 261
architects:
client demands vs. design imperatives of, 114–15, 156–57
domestic commissions as showcases of, 118
mechanical artisans vs., 13–14<
br />
payment of, 63, 115–16
previous artistic careers of, 10
architecture:
aesthetic focus vs. practical considerations in, xvi, xix, 18–19
British, xvii, 56, 99, 132–39, 173, 174, 181, 213–16, 242
of church façades, 198–200, 222–23
human body vs., 48, 209
inside/outside continuity in, 239, 244
modular proportions in, 188–89
orders of, 18, 54–55, 80, 262, 264, 265, 266
pattern books used in, 138
polychrome façades in, 114
Renaissance careers in, 10, 13–14
room designs in, xviii, 36, 60, 61, 108–11, 126–27, 128–29, 188–89, 234–38
scale vs. size in, 245–47
spaciousness in, 237–38, 243–45
start of residential design in, xviii
structural stability and, 77, 79
symmetry in, 47–48, 209–10
timelessness of, 59
U.S., xvii, 35, 56, 99, 132, 139–43, 173, 181–82, 216–19, 242
architraves, 55, 260, 262–63
Arch of Constantine, 154
Arundel, Thomas Howard, Earl of, 133, 134, 213
attics, 89–90, 108
Bacchiglione River, 95–96, 202
Badoer, Francesco, 175–76, 178, 179, 191
Badoer, Lucietta, 176, 179, 191
Banquetting House (Whitehall), 135
Baptistery of Constantine, 42
Barbaro, Daniele, 19, 147–49, 151
architectural experience of, 149, 151, 164
death of, 221
governmental/church positions of, 148, 153, 198
intellectual interests of, 147, 152, 157, 160
Palladio’s career aided by, 116–18, 147, 177, 198
Palladio’s falling-out with, 221
villa design and, 149, 151, 152, 162, 163
Vitruvius translation of, 147, 148–49, 221
Barbaro, Francesco, 147, 153
Barbaro, Marc’antonio, 160, 162, 221
architectural interests of, 149, 151
fresco painting of household of, 163
governmental positions of, 147, 223
Palladio’s career promoted by, 223
sculptural work of, 149, 153, 171
barchesse, 160–61, 171, 179, 181, 193–95, 231, 241, 261
Barry, E. M., 99
Barry, Sir Charles, 7, 9
basements, 32, 60, 68, 103, 172–73, 232
Basilica, 74–84, 76, 82, 221, 252