Lecture16:Palladioand Palladianism

PalladiosSystemanditsLegacy 1540 1580 1540

AndreaPalladio
AndreaDiPietrodellaGondola(b15081580) Padua, northernItaly northern Italy Venetianrepublic Venetian republic

PortraitofAndrea P ll di in Palladio i his hi late l t sixtiesby Giambattista Maganza

( (Tavernor Palladio andPalladianism p10)

Modestfamilybackground unlikemostoftheotherRenaissance architecturalleaders Apprenticedasastonemason workedasamasonuntilaboutage 30 when taken under the wing of Humanist poet intellectual Count 30,whentakenunderthewingofHumanistpoet,intellectual,Count GianGiorgioTrissino,whileworkingonhisvillaoutsideofVicenza becomesapartofTrissinosintellectualcircle,travelstoRomevarious timesinthe1540stostudyRomanantiquities becomesthearchitect oftheinfluentialfamiliesintheVeneto(Venetianregion) especiallyin Vicenza transformsthatsmalltown... Conventional/settledlife marriedearly,fivechildren(though tragedylateinlifewhentwodie) relativelyunpretentious Architectsarchitect notapainter,sculptor wasaprofessional alongthelinesoftheSangallofamily(Giuliani,Antonioetc.) l h l f h S ll f l (G l A ) Significance:MostprodigiousoutputofanyRenaissancearchitect(by far) butinfluenceisindirect:jumpsthespanofcenturies/passes overgeographicdistances significantlytoEnglandandthento America inotherswords,notthedirectlinetotheBaroque in others words not the direct line to the Baroque butto but to th theneoclassical,late18 centurycritiqueoftheBaroque which leadstothebeginningsofthemodernera TheFourBooksofArchitecture IQuattroLibridellArchitectura mediumthroughwhichPalladiosworkwasdisseminated equalin influencetoVignolastreatise

Placing/UnderstandingPalladio:
Paradigmaticarchitect:(perGeorgeHersey) oneofthefew architectsinhistoryw/acriticalmassofsimilarbuildings(especially thevilladesigns,thePalladianVilla)thatcanbestudied,analyzedas agroup like,sayFrenchGothicCathedrals exceptthatinthiscase they are all the work of one designer Other paradigmatic theyarealltheworkofonedesigner.Other paradigmatic architects: architects: Ledoux(18th centuryFrance),Wright,LeCorbusier
Studiesofthe entablatureoftheArch ofTitus with correctionspastedon: Madeononeofseveral journeystoRome (c1540 (c 5 01545 5 5)

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Palladianism :definition Astyleofarchitecturethatevolvedfrom theworkofthesixteenthcenturyarchitect architect,AndreaPalladio Palladio,wasbrought toBritaininpublications,andthroughtheworkofInigoJones(early17th century),andlaterspreadanddevelopedthruthe18th centuryrevivals.

(JamesCurl)

Significancew/intheRenaissance asheirtoAlberti?

PalladiosAttitude:Althoughvarietyandthingsnewmay please everyone, yet they ought not to be done contrary to the pleaseeveryone,yettheyoughtnottobedonecontrarytothe preceptsofartandcontrarytowhatreasondictates;whence onesees,thatalthoughtheancientsdidvary,yettheynever departedfromsomeuniversalandnecessaryrulesofart,as shall be seen in my books of antiquities. shallbeseeninmybooksofantiquities .
(Wittkowerp67)

Palladio assummaryoftheRenaissance?
Inaway fullcircle capturestheidealismoftheEarlyRenaissance,especially Alberti workislikeadialoguew/theideasofAlberti:1)continuingrediscoveryofthe Romanpast2)obsession,passionforclarity,order,andproportion Wittkowerin ArchitecturalPrinciplesintheAgeofHumanism,only talksaboutPalladioandAlberti Captures C the h artistic i i spirit i i of fthe h Hi High hR Renaissance i monumental/Romanclassical, l/R l i l solid,sculptural alsodirectinfluenceofBramanteandhiscircle note:Palladios inclusionofBramantesTempiettoinhisFourBooksasequalinstatustotheancients And And thoughthemainthrustofhisworkisnotisthisdirection:Alsohastheflexibility though the main thrust of his work is not is this direction: Also has the flexibility totakeartisticallyfromthosearoundhim worksw/Manneristsensibilityinsome instances aswell influencesfromGiulioRomanoandlaterfromMichelangelo

Will look at: Willlookat:

1. 2. 3. 4. 5. ThePalazzodellaRagione,Vicenza TheBasilica asaparadigmaticPalladian building hissignaturebuilding HisotherPalazzodesigns asexampleofhisarchitecturallanguageandvarietyof influences Theimportanceofthevillas Brieflyathisinfluencebeyondthe16th century Theculminationofhisworkinonesignificantchurchdesign IlRedentore,in Venice

Plan Palladios Pl P ll di l loggia i encasingexistingmedieval townhall

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PalazzodellaRagione TheBasilica,Vicenza
(b (begun 1548)

PalazzodellaRagione,TheBasilica Vicenza, Italy,AndreaPalladio(started1548,completed1614 afterPalladiosdeath):Aerialviewlookingsouth atthePiazzadeiSignori

TheBasilica viewofarcadefromthepiazza

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SimilarcorneratSansovino Sansovinos s LibraryofSanMarco,(inPiazza SanMarco),Venice,1536(see Trachtenbergp310)

TheBasilica northwestcornerdetail Note:Sansovinoscontinuoushorizontal lineatthecornicevs.Palladiosbreaking upthecorniceline accentingofeach bay

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BasilicaFaade PalladianWindow/ Serlianadetail

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Detailfrom Serlios BookIV:A Palace Elevation (c1537)

FromGromort:TheBasilica corner detail plan/section/elevation UsingtheSerlinamotiftoadjustfaade toirregularitiesintheexistingplan

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Stairstoupperlevel

Interiorviewofarcade

Crossaislesatlowerlevel

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FaadeDetailatcorner

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Plan

PalazzoThiene,Vicenza,Italy Palladio/GiulioRomano(15421548)

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Faadedetail balanceoftextures:
Rustication:Plainfacedrusticatedblocksatcolumns/Vermiculated(irregular surface)atlowerlevelmasonry Exaggeratedheavylintel,likekeystone playsoffofdelicatebalustrade ArefinedtakeonGiulioRomano?

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GiulioRomanoHouseinRome(nolongerexisting)

Palladio:drawingintheQuattroLibri (TheFourBooksofArchitecture) elevationofPalazzoThieneasintended initsfinalform(late1560s)

Palladio:drawing ginthemannerof f Giulio Romano c1545+/

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PalazzoThiene detailatlowerlevel flatarchwindowlintel/archsurround andbalustradeabove

PalazzoThiene detailatwindow surround

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PalazzodaPortoFesta,Vicenza,Italy Palladio(c1549)
Similar butshowinguseofothercriticalmodel BramantesPalazzoCaprini Withhalfcolumnsvs.pilasterstrips doesthishaveamorerobustfeeltoitthanthe morethinlylayeredworkofVignola?(comparetoPalazzoFarneseinCaprarola)

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Palladiosdwgs(notbyhim)butinhis collection sketchesofthePalazzoCaprini

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Palladios ll d Palazzo l d daPortoFesta

Engravingof fBramantes Palazzo l Caprini

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PalazzoChericati,Vicenza,Italy Palladio(15501557) Whatisitaboutthisbuilding thatmakesitmorePalladian?Notjustavery welldoneversionofBramante,orGiulioRomano butsomethingthathasa verydistinctivepersonalstamp,andpointstowardsaninfluentialdirectionfor architecturetotake?

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 BothVignola,Palladio(w/their treatises,inthelatterhalfofthe16th century) workingtodefineamore disciplinedapproachto intercolumniation thedistance betweencolumns g Faade composition p PerVignola: notrequiredtoreflectinternal structure.Palladioasapurist plan /elevationrelationshipexplicit Vignola reducedtheorderstothe ornamentationofbuildings for Palladiotheyconstitutedthe buildingsspatialsystem Palladio PalazzoChiericatiand after:Intercolumniationsabout3 columndiameters,typically Givessenseofstructuralrealismto theclassicalorders uniqueabout Palladio?Notawallarchitecture asinAllberti butacolumn architecture withwallinfill? Alongtheselines noteoddsolid upperleveloverstreetlevelloggia
( Branko (per B k Mitrovic M pp101126)

PalazzoChiericati mainelevation

Intercolumniation

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PalazzoChiericati sideview Plan:columnlayoutatloggiafaadereflectsinternal orderingofspace Viewinsideloggia OtherPalladianelements:statuesatroofcornice accentuatelineofcolumns,archedsidewall a repeatedmotif Like Lik the h B Basilica ili aclassic l i Palladian P ll di example l

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PalazzoValmarana,Vicenza, Italy Palladio(15651571) Whattomakeofthisone?

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Interweavingoffaade elements LatePalladio: Themeofhislate churches

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Samenarrowintercolumniation asintheclassic PalazzoChiericati But,late,manneristPalladio pullingtogether inspirationfromMichelangelo,StPetersfaade Giantorders? Mannerist weakcorner asopposedto strengtheningthebuildingedgew/doublecolumn (cf.Chiericati,orBasilica) Logic:cornerdoesntoverpoweradjacentsmaller facades?Flatness perstreet/siterequirements? Beautifulexampleofinterweavingfaadelayers: 1)Giantorder setsupbasicrhythmwhichis superimposedon2)lowerstoryw/halfpilasters toppedw/balustrade3)backplane:patternof solid/voidwindowopeningsbeyond

PartialElevation perOctavioBertotti
Scamozzi

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PalazzoValmarana faadelayering /detailatweakcorner

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ButwhatsmostuniqueaboutPalladioisthat thissamecreativity varietyw/inacarefully consideredframework isbestexpressedinhis amazinglyprolificoutputofvilladesigns:

Althoughhismasteryofarchitectureledto commissionsformanydifferenttypesofbuildings, hisvillaswerethemostindemand;intermsof influencetheyremainamongthemostimportant structuresintheentirehistoryofarchitecture. F From them, th moreth thanf fromhis hi other th works, k was VillaBadoer(c15541563) aerialview bornawholenewstyle Palladianism onwhich asconceptualexample: eighteencenturyclassicalarchitectureinEngland, andsubsequentlyAmerica,wasfounded. rectangularblockmassing (Trachtenbergpp312313) emphasisatmainfaade oftentemple frontespeciallyinlatervillas,thoughnot (perQuattroLibri) believed(orjustified)useof always templefrontw/theidea(obviouslyincorrect) often sideblocksforfarmuse villaas thatancienttempledesignsmighthaveoriginally p g g g y working ki farm, f villa ill rustica ti not tj just t comefromprivatehouses? contemplative,villasuburbana (Wittkowerp70)

ThePalladianVilla varietyw/inbasicpatterns patterns

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MainFaade doublestory/colonnadeand pedimenttemplefront SeeKostof p482 asmodelforCharleston colonialhouse?

Plan/Elevation correspondence

Forexample:VillaCornaro,PiamboDese,Italy Palladio (c15521554) Atypical PalladianVilla?

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TheSala Th S l main, i central lli living i space restofthegroundfloorplanas auxiliaryspace

andSecondfloorloggia

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Tothemoreeccentric VillaBarbero,Maser,Italy(c15521558)

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Plan/ElevationperQuattroLibri Alignmentofdoors onaxisastypical Palladianvillacompositionalprinciple roomsenfilade Nymphaeum partofgardengrounds inthisexampleofalarge,luxuryvilla

PaoloVeronese:illusionisticfrescos

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Formalcharacteristics: (perWittkower,Hersey) Generallyrectangularblock rectangularrooms Verticalbilateralaxisofsymmetry w/main room,Sala,organizedonthataxis nowallsalong thataxis h Rectangularauxiliaryrooms indoughnutor Ushapearoundcentralspace Limitednumberofsecondaryrooms/noroomsas wide or long as whole plan / no rooms greater in wideorlongaswholeplan/noroomsgreaterin proportionthan(2)squares PerWittkower:secondary,minorauxiliarybays parallelw/mainaxis Stairs Stairs asauxiliaryspaces as auxiliary spaces

Wittkower sAnalysisoftypicalpatterns Wittkowers inPalladianVillas fromArchitectural PrinciplesintheAgeofHumanism

Whatformalfeaturesdothesevillashaveincommon? WhatmakesthemPalladian?

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 PerHersey interestingwaytoanalyzethepossible processofworkingoutthegeometryofaPalladianvilla plan theorganizingideaofsplitting overallrectangle i t intocompartments t t Withthatinmind theidea,again,thattheelevation isbasedontheplan butthatmultipleelevation possibilitiescouldlogicallyarisefromanyoneplan configuration Windows/doorsobeyaxialplan logic exceptwhere tiedintotheclassicalordersinthefront wherethe elevation dictates

HowmightyoudesignaPalladianvilla?

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plan/elevationrelationships

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 Rooms:Between(1)to(2)squares outer limits Butroomshapesalsotobetiedin p proportionallyinthreedimensions heightto bealgebraic,geometric,orharmonicmean betweentheplandimensions: e.g. doublesquare12x6roomcouldbe 9high algebraicaveragebetweenthetwo dimensions But importantpoint perHersey,the overallcomposition,practicalconstraints, likelytookprecedenceoverthepure applicationofproportions

Idealproportions roomshapepossibilities

GeorgeHersey/RichardFreedman: Idealproportions vs.truedimensions

andproportion

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Palladiouses,exemplifiesAlbertiswriting onproportion earlyRenaissanceideaof basic shapes squares rectangles relating to basicshapes,squares,rectanglesrelatingto eachotherbasedonmusicalsimplewhole numberratios(includingthediagonalofthe square)

Plan/Elevation asdrawnin PalladiosQuattroLibri

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VillaFoscari,Malcontenta,nearMestre, Italy(c15581560)

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Detail l atentry
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Rearelevation

Frontelevation l
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AlexanderCaragonnescharts:VillaFoscarivs.CorbusiersVillaSteinatGarches

ColinRowesMathematicsoftheIdealVilla
FirstPublished:(ArchitecturalReview,1947)

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TheVillaRotunda,Vicenza,Italy(begun1566) sitinginthelandscape

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Plan/Section/Elevation

Acloserview oneofthefourequaltemplefronts

VillaRotundaasidealVillaSuburbana contemplativeretreatonly Formofidealcentralizedchurch/temple turneddomestic domeasunusual,non residentialcrowningfeature Idealizedproportions/prefectsymmetryof ground dplan, l and dharmony h of fpartsof felevation l

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Fourequalsides
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Thedomeandcentralspace

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BanquetingHall, Hall WhiteHall Hall,London InigoJones(1619)

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Influence... Influence

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DrawingfromColenCampbells VitruviusBriticannicus

ChiswickVilla,London WilliamKent(1725)

andtheVillaRotundaform

Jeffersons Jefferson sMonticello(begun1768)

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IlRedentore,Venice,Italy(begun1577) AculminatingexampleofRenaissanceharmony?

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Albertis Sant Andrea:the templefront combined w/the triumphal archmotif c1472

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WittkowersDiagram: interlockingtemple pediments

Viewoffaade aharmoniousandintegrated solutiontotheRenaissanceproblemofadapting thetemplefronttoachurchfaade

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Palladio takingthe deviceofthe interlocking giant order as inPalazzo V l Valmarana.

Acloseup pview
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AndtheinteriorinpartreminiscentofBrunelleschiswork,w/thepietraserena againsttheplastersurface butunlikeSantoSpirito thisisafullyRoman building,avaultedhalltheveryplasticgiantorderplaysoffagainstthelower pilasters whicharecoordinatedandareexpressedontheexterior pilasters, exterior

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 Planandsection thestructureofaRomanbathorvaultedbasilica Therepeatingmotifofcolumnclustersgraduallyrevelsitselfasonemovestowardsthenave Thepilastersbreakfree inacolumnarscreenatthechoir

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light solidity y refinement harmony

Afitting conclusionto the Renaissance?

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Reading:
ForFridayDiscussion includeslastweeksreading: Trachtenbergpp309325(ChapterEight:TheRenaissance),restofchapter Fordiscussionfocuson: Mannerism pp299303 Palladio pp311319 (YouLeefor10:00AM/Luigifor1:00PM) Thisweeksreading: Kostofpp433451(Chapter18 SpainandtheNewWorld) Kostofpp468483(Chapter19 sectiononVeniceandPalladio)