commission granted on, 75, 77, 84
construction process of, 116, 176
decorative embellishments on, 80, 83, 264
original building reinforced as, 74–75, 77, 79, 80–81
in Quattro libri, 76, 220
rhythmic repetition in design of, 81–83
serlianas built in, 79–80, 83, 85, 266
statue of Palladio erected beside, 223, 251
Vicentine officials and, 84, 96, 229
Baths of Agrippa, 41
battuto, 6, 235
Beethoven, Ludwig van, 196
Bèrici hills, 201, 205, 211
Berkeley, George, 139
Berlin Theater, 99
Bertotti-Scamozzi, Ottavio, 175, 192
Blenheim Palace, 136
Blodgett, Samuel, 99
Borgia, Lucrezia, 16
Bramante, Donato, 59
architects trained by, 20, 43
classical Roman influence on, 40
Cortile del Belvedere of, 42, 47, 77, 79
death of, 42, 115
harmony in designs of, 21
inventiveness of, 247
oculi used by, 70
as painter, 10
serliana revived by, 5n, 266
Tempietto of, 205
villa façade modeled after, 54
Brenta River, 100–101, 103, 179
Brunelleschi, Filippo, 10, 40, 92, 247
bucrania, 80, 153, 157, 261
buon fresco, 24
see also frescoes
Burlington, Richard Boyle, Lord, 136–37, 141, 214–15, 216, 223
Caldogno, Euriemma Saraceno, 229, 236, 238n
Caldogno, Lucietta, 229–30, 231
Campbell, Colen, 136–37, 139, 140, 175, 214
capitals, 55, 260, 261
Capitoline Hill, 84
Carnera, Anselmo, 88
castello, 16, 35
Castle, Richard, 173, 174
Castle Howard (Yorkshire), 136
Cavazza, Bartolomeo, 11–12
ceilings:
coffered, 186, 192, 206
construction of, 89
frescoes painted on, 63, 207
height of, xviii, 233, 237–38
vaulted, xviii, 63, 266
Charles I, King of England, 134, 135
Charles II, King of England, 136
Chiericati, Giovanni, 98, 99, 107
Chiericati, Girolamo, 96, 98
Chiswick House, 214–15, 217, 223, 243
Civena family, 38
Clement VII, Pope, 43
columns:
of brick, 114
defined, 262
engaged, 199
entasis (tapering) of, 177–78, 241, 263
fluted, 263
freestanding, 97–98
interior, 127–28
intervals between, 104, 241, 264
orders of, 55, 80, 262
parts of, 55, 260, 262
pediments without, 57
sizes of, 246, 263
commedia dell’arte, 19
Composite order, 55, 80, 261, 262, 265
Constant, Caroline, 259
Contarini, Jacopo, 117
Contarini family, 121, 122n
Corinthian order, 55, 80, 246, 260, 261, 262, 265
Cornaro, Alvise, 21, 59, 121, 147, 221
background of, 18
both comfort and beauty advocated by, 18–19, 23
frescoes used by, 19, 28
garden loggia built for, 19, 161
Cornaro, Andrea, 122
Cornaro, Caterina, 121–22, 127, 145
Cornaro, Giorgio, 19, 121–22, 127, 128, 130, 142, 143, 147, 157
Cornaro, Girolamo, 122, 127
corn cultivation, 191
cornices, 55, 260, 263
Corrigan, Brian, 251, 252
cortile, 32
Cortile del Belvedere, 42, 47, 77, 79
curved loggias, 179, 181–82
cyma recta (ogee molding), 208
dados, 262
Da Monte family, 39
da Porto, Iseppo, 73, 75, 96
da Sangallo, Antonio, 20, 42, 57, 115
da Sangallo, Giuliano, 57
Designs of Inigo Jones (Kent), 137, 139, 140, 214
Diocletian (thermal) windows, 27, 32, 266
Doge’s Palace, 74, 79, 114, 117, 151, 164
domed buildings, 203–7, 211, 220, 223, 264
in Britain and U.S., 213–19
Doric order, 55, 56, 80, 83, 253, 262, 265, 266
drawing techniques, 41, 45–49
Drayton, John, 140, 142–43
Drayton Hall (South Carolina), 132, 140, 142–43, 218
Emo, Andrianna Badoer, 191
Emo, Cornalia Grimani, 191, 192, 196, 198
Emo, Leonardo (the Elder), 187, 189, 191
Emo, Leonardo (the Younger), 187, 189, 191–92
entablature, 55, 260, 262–63
entasis, 177–78, 263
Erith, Raymond, 244
Este, Ippolito d’, 148
Este, Isabella d’, 16
eustyle, 104, 264
Falconetto, Giovanni Maria, 19, 59
family rooms, 217
fascia, 114, 172, 263
Ferri de Lazara, Cornelia, 59
Fiorentino, Giallo, 169
fireplaces, 61, 130, 171
First Bank of the United States (Philadelphia), 99
Fletcher, Banister, 9, 27
floor surfaces, 6, 235–36
Florence, Brunelleschi cathedral in, 10
fluting, 263
Foots Cray Place (Kent), 215–16, 217
Foscari, Alvise, 104, 108
Foscari brothers, 104, 107, 108, 118, 157
Four Books of Architecture, The (Palladio), see Quattro libri dell’architettura, I (Palladio)
Franco, Battista, 106, 107
frescoes:
architectural elements in, 19, 25, 28, 106, 169–70, 187
on ceilings, 63, 207
classical references vs. contemporary subjects of, 24–26, 87, 163–64
clients’ heritage and interests reflected in, 163–64, 179, 191–92
exterior simplicity vs., 27, 192
of grotesques, 87
Palladio’s endorsement of, 28–29, 88
perceived room proportions affected by, 236, 238
trompe l’oeil effects of, 25, 28, 106, 169–70
friezes, 55, 260, 263
furniture, 129–30
Gazoto, Tadeo, 39, 56
Gehry, Frank, 118
Georgian designs, 139, 142
giant columns, 103, 263
Gibbs, James, 139, 140, 141, 181–82, 247
Giudecca, island of, 103, 222
Giulio Romano (Giulio Pippi), 42, 43, 63, 81
death of, 73, 75
expressive style of, 21, 247
financial success of, 115
name of, 22
Titian’s portrait of, 224
Vicenza palazzo renovation design of, 75, 77
glassmaking, 61, 103
Godi, Enrico Antonio, 4
Godi, Girolamo, 4, 5, 7, 36
Godi, Pietro, 19, 23, 27–28, 29
Goethe, Johann Wolfgang von, 81, 97, 243
on Carità cloister, 197
on Palladio villas, xv, xvi, 207, 209, 226–27
Gothic style, scale in, 246
Greenberg, Allan, 182
Grimani, Cornalia, 191, 192, 196, 198
Grimani, Giovanni, 198
groin, 263
Gualdo, Paolo, 17, 22, 84, 178
Hadrian, Emperor of Rome, 43
hemicycles, 47, 52–54, 263–64
Henry III (Henri de Valois), King of France, 106, 223
Hoban, James, 173
Holm, Alvin, 216–17, 218
Howard, Deborah, 111
Il Redentore, church of, 222–23, 246, 266
impost, 264
India, Bernardino, 63, 84
intercolumniation
, 104, 264
International Style, 168
intonaco, 4
Ionic order, 55, 80, 83, 210, 262, 264, 265
James I, King of England, 133, 175
Jeanneret, Charles-Edouard (Le Cor-busier), 9, 69, 92, 118, 130
Jefferson, Thomas, xvii, xviii, 141, 217–18, 247
Johnson, Samuel, 209
Jones, Inigo, xviii, 132–36, 247
background of, 133, 134
British and U.S. architecture influenced by, 136, 137, 138, 139, 140, 141, 142, 175, 215, 218
buildings designed by, xvii, 134–35, 175, 181
as court architect, 134, 135–36, 175
domed residences designed by, 213, 214, 218
first portico design of, 175
Palladio villas visited by, 133–34, 137, 181, 206, 213
on Scamozzi’s resentment toward Palladio, 213
Jones, Philly Joe, 81
Jonson, Ben, 133
Julius III, Pope, 148
Kahn, Louis I., 92, 172
Kent, William, 137, 139, 214
Kildare House (Dublin), 173, 174
La Malcontenta, see Villa Foscari
Lanci, Francesco Maria, 253
Landmark Trust, 226, 230
La Rocca, 211, 215, 216
La Rotonda, see Villa Almerico
League of Cambrai, 11, 21
Le Corbusier (Charles-Edouard Jeanneret), 9, 69, 92, 118, 130
Leoni, Giacomo, 136, 137, 218
Lewis, Douglas, 28
Ligorio, Pirro, 148
Loggia del Capitaniato, 221–22
loggias, curved, 179, 181–82
Longair, Malcolm, 111
Loredan, Lucietta, 176, 179, 191
Loredan, Zorzi, 176, 179
Louvre, 99
Lusławice, 253
McCarthy, Mary, 163
Maganza, Giambattista, iv, 83, 116, 224, 251
Mann, Thomas, 230
marmorino, 104–5, 114
Marta dalla Gondola, 10
mascheroni, 83, 153, 157, 264
masques, 133
measurement, Vicentine standards of, 110n, 233–34, 244
Medici, Lorenzo de’, 57
Mereworth Castle (Kent), 214, 215, 217, 243
metopes, 262
Michelangelo Buonarroti, 10, 21, 43, 84, 105, 117, 187, 247
Mies van der Rohe, Ludwig, 9, 71, 92
Mocenigo, Leonardo, 179, 181, 200
modillions, 3, 172, 264
moldings, 41–42, 114, 172, 208, 208, 263, 265, 266
Monte Bèrico, 12, 201, 205
Monticello (Virginia), xvii, 217
Moro, Battista, del, 27
Morris, Robert, 138–39, 140, 141
Mount Airy (Virginia), 139, 182
Mount Vernon (Virginia), 4, 182
Murano, island of, 103
Museo Civico (Vicenza), 95
National Gallery (Berlin), 71
National Gallery of Art (Washington, D.C.), 99
Nuthall Temple, 216, 217
nymphaeum, 148, 162–63, 185
oculi, 65, 66, 67, 69–70, 80, 87, 92, 205, 206–7, 264
Odeo, 19
Of Built Things (Alberti), 13, 40
ogee molding (cyma recta), 208
Olympic Academy, 211
order, architectural, 18, 54–55, 80, 262, 264, 265, 266
Ospedale degli Innocenti, 40, 92
Padovano, Gualtiero, 27, 28
Padua:
architecture of, 18, 19
University of, 18, 19, 147, 151
in Venetian Republic wars, 11
Pagliarino, Bartolomeo, 71
Palazzo Antonini, 12, 155, 265
Palazzo Barbaran, 221
Palazzo Canossa, 69
Palazzo Chiericati, 95–98, 97, 103, 116, 157, 187, 261
Palazzo Civena, 39, 56, 157
Palazzo da Porto, 73, 157, 186
Palazzo della Ragione (Vicenza), 74
Palladio’s Basilica reconstruction of, 75–84, 76, 82, 84, 85, 96, 116, 176, 220, 221, 223, 229, 266
Palazzo delle Trombe, 229
Palazzo del Tè, 21
palazzos, terminology of, 39n
Palladian (Venetian) windows, see serlianas
Palladio, Allegradonna, 15, 17, 67
Palladio, Andrea:
ancient Roman architecture admired by, 13, 39–42, 59, 198, 209
archaeological field sketches of, 41–42, 205, 245
architectural treatise of, see Quattro libri dell’architettura
birth of, 10, 11
children of, 17, 116, 177, 222
commemorative statues of, 223
construction overseen by, 177, 178
D. Barbaro’s Vitruvius illustrated by, 147, 149
death of, 133, 223
discipline vs. creativity of, 91–92
drawing techniques of, 41, 45–49
family background of, 10–11
financial status of, 63, 77, 116
genial personality of, 11–12, 22, 114, 178, 224
later ornate style of, 196, 222
marriage of, 15
mentor relationships of, 17–18, 21–23, 39, 84, 148, 221
name of, 11, 22–23
palazzos designed by, 39, 56, 73, 95–98, 97, 103, 116, 157, 186, 187
physical appearance of, iv, 223–24, 251–52
practical building experience of, 12–13, 177–78
pupil of, 210–11, 213
religious-building commissions of, 197–200, 222–23
Roman guidebooks written by, 41
Rome visited by, 38–45, 59, 83–84, 148
sense of harmony conveyed by, 245–46, 247, 249
social position of, 15, 23, 115, 213, 224
as stonemason, 10, 11–13, 15, 23, 63, 67, 77, 90, 156, 177–78, 220, 229n, 251–53
on three criteria of architectural perfection, xi, 90
Venetian commissions sought by, 116–18, 196–200
Vicenza Basilica of, 74–84, 76, 82, 84, 85, 96, 116, 176, 220, 221, 223, 229, 251, 266
as Vicenza city architect, 77
Palladio, Andrea, villas designed by:
author’s rental stay in, 225, 226, 231, 234–35, 244–45, 249
British architecture influenced by, xvii, 56, 99, 132–39, 173, 174, 181, 213–16, 242, 247
carved details on, 4, 5, 63, 153, 156, 157, 171, 177–78, 220, 246–47
church commissions vs., 200
client suitability considered in, 156–57, 191–92
climate accommodated in, 142, 147
computerized design program based on, 91
current states of, xvii, 257–59
first independent commission of, 7, 9–10
frescoes in, 24–28, 106–7, 169–70, 175, 183, 186–91, 196, 236, 238, 243
locations of, xvii, 1, 2, 31, 35, 65, 73, 95, 100–101, 119, 122, 131, 145, 151, 167, 172, 176, 178, 185, 200, 201, 202, 240, 256
long interior views within, 239
porticoes of, 98–99, 100, 103, 104, 113, 121, 123, 124, 125, 167, 173, 174, 175, 183, 190, 201–2, 209, 210, 212, 214, 253
rear façades of, 70, 72, 113, 121, 126, 131, 163–64, 168, 170, 172, 178–79, 185–86, 240
room proportions in, 108–11, 126n, 237–39
serenity of, 247
sophistication vs. rural aptness of, 7, 45, 243, 253
stylistic anomalies of, 155
sympathetic relationship to settings of, 68, 146, 159, 210, 240
underlying consistencies of, 155–56, 182
unfinished examples of, xviin, 255, 257, 258, 259
U.S. architecture influenced by, xvii, 56, 99, 132, 139–43, 173, 181–82, 216–19, 242, 247
see also specific Palladio villas
Palladio, Leonida, 116, 177, 211, 222
Palladio, Marc’antonio, 116, 177
Palladio, Orazio, 116, 177n, 222
Palladio, Silla, 116, 177, 213, 234
Palladio, Zenobia, 116
Palmanova, 149n
Pantheon, 39, 40, 206
pattern books, 138
Paul III, Pope, 84
Peace of Bologna (1529), 87
Pedemuro workshop, 12, 14, 63, 75, 220, 229n
pediments, 55–59, 260, 265, 266
Perrault, Claude, 99
Petrarch, 101
Piazza San Marco, buildings located on, 70, 211
Pietro dalla Gondola, 10, 13
pigeons, 152
pilasters, 262
Pisani, Daniele, 36
Pisani, Francesco, 125
Pisani, Marco, 36
Pisani, Vettor, 19, 36, 37, 49–53, 63, 73, 125, 211
Pisani del Banco family, 36–37
plague epidemics, 196, 222
plantation houses, xvii, 35, 56, 132, 142–43, 182
Pliny (the Younger), 43, 44
Poiana, Angela, 67
Poiana, Bonifacio, 67, 71, 72, 85, 157, 177
polenta, 191
Pope, Alexander, 142
Pope, John Russell, 99
Poplar Forest (Virginia), 218
Po River, 172
Porlezza, Giovanni da, 12, 13, 18, 20, 75, 77
porticoes, 174, 190, 253, 265
in British and U.S. architecture, 99, 132, 140–41, 173, 174
column size on, 103, 263
double, 121, 123, 124, 125, 132, 140–41, 262
intercolumniation on, 104, 264
Palladio’s initial use of, 57, 98–99
in quadruple symmetry, 201–2, 209–10, 212, 264
postmodernism, 118
privacy, domestic conventions of, 129
privies, indoor, 130–31
pulvinated molding, 208, 265
Quattro libri dell’architettura, I (The four books on architecture) (Palladio), 9, 76, 90, 220, 221
autobiographical data in, 13
on ceiling height, 237
earlier design defects corrected in, 7
English translations of, 136, 137, 215, 218, 230
methodical approach of, xviii–xix
room dimensions in, 108–11, 110, 233–34
sample page of, 228
spare prose style of, xviii, 233
villa clients’ social status noted in, 36
Vitruvius cited as influence on, 13
Queen’s House (Greenwich), xvii
quoins, 265
ramps, 192–93
Raphael (Raffaelo Sanzio), 16, 21, 40, 42, 43, 44, 47, 53
Repeta, Francesco, 177
Richardson, H. H., 247
riverside locations, 31, 32, 35, 100, 103, 167, 176, 183
Roman ruins, 19, 39–42, 205
Rome:
ancient buildings in, 39–42
Renaissance architects of, 42–43, 83, 148
Sack of (1527), 19–20, 43
room design:
ceiling height of, xviii, 237–38
freestanding columns in, 126–27
modular proportions in, 188–89
multiple sizes in, 60
musical theory as basis of proportion in, 109–11
shapes of, 36, 108–9, 126–27, 188, 234
sun movement and, 236
surface materials of, 235–36
The Perfect House: A Journey with Renaissance Master Andrea Palladio Page 24