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Andrea Palladio , Frederick Hartt, 643-647

Andrea di Pietro (1508-1580) is known by the name PalIadio-derived from Pallas Athena, goddess of
wisdombestowed by his patron, the humanist Giangiorgio Trissino. Palladio was brought up in
Mcenza, which he turned into one of the most beautiful cities in Italy through buildings designed in a
new, more archaeological version of the Renaissance style. Trissino took Palladio to Rome with him,
where the young architect studied the works of the High Renaissance architects and the ruins of
antiquity. Palladio also mastered the writings of Vitruvius and Alberti and made influential literary
contributions of his own, including The Antiquities of Rome (Ilantichitd di Roma), printed in 1554, ard
Tbe Four Books on Architecture (l quattro libri dell'architettura), which appeared in 19,62.PALLADIO.
Villa Almerico, now known as Villa Rotonda or Villa Capra, Vicenza. Begun 1550. Completed by
Vincenzo Scamozzi. Commissioned by Paolo Almerico. On the siting of a country villa, Palladio wrote:
It seems to me particularly relevant to discuss the site and location to be chosen for those buildings
and their planning; since we are not (as is usually the case in towns) enclosed by fixed and
predetermined boundaries such as public walls and those of neighbors, it is the business of the
sensible architect to investigate and assess a convenient and healthy location with the greatest care
and diligence, because we stay in the country mainly in the summer when our bodies grow weak and
sick because of the heat even in the healthiest spots. 1570. In the latter, the uirtws of Roman art, so
important a principle to Alberti (see p. 239), is applied to the architectural problems-domestic, public,
and religious-of Palladio's own day. Palladio's most influential building for the history of domestic
architecture is the Villa Almerico (fig. 19.62), now known as the Villa Rotonda, a rural retreat sited on
a Iow hill near Vicenza. "The site is one of the most pleasing and delightful that one could find...
because it enjoys the most beautiful vistas on each side," Palladio wrote, "some of which are
restricted, others more extensive, and yet others which end at the horizon." Like most of the villas
designed by Palladio, the building is organized around a classical temple portico, but the Villa Rotonda
is unique in having four such porticoes, one facing each cardinal point of the compass (fig. 19.63).
Each commands a different view and enjoys different atmospheric qualities. Each is protected on the
sides by diaphragm s'alls that u,ard off the sun but are pierced b,v an arch to admit ventilation; the
inhabitants could thus take irdvantage of an aimost endless variety of sun or shade. hreeze or shelter.
It is no wonder that Palladio's ideas x'ere adopted u-irh special enthusiasm in the architecture of
pl.rnrarion mansions in the American South, u'here prorection aglinst the sun was essential. Each
portico is re.rched bv steps flanked by proyecting walls. On rhe ct,rne r. of rhese walls and on each
pediment, srarues erren.l rhe eres of the villa. Yet despite these derails. rhe e rircr rrf the villa is
austere, with its flat walls, sere:e I,r:i. .,rlumns, and undecorated frieze. It has been .je:r,.:.::-rre.1 rhat,
like many earlier architects, Palladio -..; ::- numerical ratios of the harmonic relationships of ::.. Greek
musical scales, known in theory during the Rerlissance, to calculate the proportional relationships
in .rnd between the rooms in his villas. More elaborate rhan those of Brunelleschi or Alberti,
Palladio's ratios are 19.64. PALLADIO. Faqade, Villa Barbaro, Maser. 1550s. Commissioned by Daniele
and Marcantonio Barbaro as a rebuilding of a family estate, some of the foundations of which were
incorporated into Palladio's design. Palladio seems to have become a member o[ the Barbaro
household staff, and when Daniele Barbaro died, his uill mentioned "Palladio, our architect." For
views of Veronese's decorarion for the interior, see figs. 19.49-19.50. not consciously discerned by the
observer, but are responsible for the effect of harmony and balance so evident in his buildings. The
Villa Barbaro at Maser (figs.19.64-19.65) was the modest main building for a small working farm. The
flanking wings extending into the landscape, which influenced Thomas Jefferson's plan for his country
estate at Monticello, had a practical rather than a theoretical or ideological basis. As at the Vrlla
Rotonda, the main faEade is based on an ancient temple fagade, but here the entablature is
unexpectedly broken by garlands decorating a large balconied window that allows the patrons a view
over pastures and farmlands. The arcaded wings to either side culminate in large sundials and
structures that suggest dovecotes. A semicircular nymphaeum behind the villa has a spring-fed
cascade, a fish pond, a grotto, fountains, and extensive sculptural decoration. The water from this
pond originally flowed into the kitchen and then out to a series of fountains in front of the villa,
ending as irrigation for the farm's orchards. Unfortunately, the extensive farm gardens and orchards
of the Villa Barbaro do not survive. The elaborate sculptural decoration in stucco that adds elegance
and focus to the faEade of Villa Barbaro was in part designed and executed by Marcantonio Barbaro,
who, with Daniele Barbaro, was one of the villa's patrons; a main feature of the pedimental
decoration is the Barbaro coat of arms. The brothers were powerful Venetian aristocrats-Daniele a
papal prelate and Marcantonio a prominent statesman-with a strong interest in the arts. Daniele
authored an annotated edition of the writings of Vitruvius published in 1556 with illustrations by
Palladio, while Marcantonio played a continuing role in Venetian building and sculptural projects until
his death in 1595. The involvement of both brothers with architecture supports the assertion that
they collaborated with Palladio on certain details of the villa's design. ln 1560-62 the painter
Veronese decorated the interior of the brothers' villa with a splendid set of trompe I'oeil murals

Andrea di Pietro 1508 1580


643.

poznat po imenu Palladio deriviranom od Atena Pallada boginja mudrosti nadjenuo mu njegov
pokrovitelj humanist Giangiorgio Trissino

Palladio odrastao u Vincenzi koju je preobrazio u jedan od najljepih talijanskih gradova kroz
graevine projektirane u novoj arheolokoj verziji renesansnog stila

Trissino odveo Palladia u Rim s njim tamo mladi arhitekti prouavaju djela visoke renesanse i antike
ruevine

savladao zapise Vitruvija i Albertija

utjecajna i njegova vlastita djela - The Antiquities of Rome (L'antichita di Roma), 1554, i The Four
Books on Architecture (l quattro libri dell'architettura), 1570.

najutjecajnija graevina u povijesti domestike arhitekture je Villa Almerico poznatija kao Villa
Rotonda, ruralno odredite na niskom brdacu kraj Vicenze

Palladio pie: Mjesto je jedno od najugodnijih koje bi itko mogao pronai.. jer uiva predivne poglede
sa svake strane

graevina organizirana oko klasinog portika hrama, villa rotonda jedinstvena jer ima 4 portika svaki
prema jednoj strani svijeta

svakog odreuju drukiji pogled i drukije atmosferske prilike

644.

svaki bono zatien zidovima koji odbijaju sunce ali su probijeni lukom kako bi prihvatili ventilaciju
(stanovnici iskoritavali beskrajnu raznolikostsunca, sjene, povjetarca i zaklona)

nije udo da su Palladijeve ideje prihvaene sa posebnim entuzijazmom na amerikom jugu


plantae, gdje je zaptita od sunca esencijalna

do svakog portika dolazi se stubitem flankiranim isturenim zidovima

na rubovima zidova i na svakom pedimentu, skulpture produuju osi vile

usprkos tim detaljima efekt vile je jednostavan i strog, sa plonim zidovima, strogim jonskim
stupovima i nedekoriranim frizom

Palladio koristi omjere harmonine veze grkim glazbenih ljestvica, poznato u renesansnoj teoriji,
kako bi izraunao proporcionalne veze u i izmeu soba u vili

elaboriraniji omjeri nego kog Brunelleschija i Albertija

Villa Barbaro u Maseru skromna glavna zgrada za malu farmu

flankirajua krila izlaze u pejza utjecaj na Monticello Thomasa Jeffersona

glavna fasada fasada antikog hrama ovdje je entablatura neoekivano izlomljena girlandama koje
dekoriraju veliki balkonski prozor koji doputa stanovnicima pogled na panjake i farmu

krila s arkadom kulminiraju u velikim sunanim satovima i strukturama koje sugestiraju golubinjak

polukruni nimfej iza vile ima kaskadu, jezerce s ribama, pilju/grotto, fontane i skulpturalnu
dekoraciju
voda iz jezerca izvorno je tekla kroz kuhinju i izlazila u niz fontana ispred vile a zavravala kao sustav
navodnjavanja za vonjake

645.

elaborirana skulpturalna dekoracija u tuku dodaje eleganciju i fokus fasadi dizajnirao i izveo
Marcantonio Barbaro, jedan od pokrovitelja vile

glavna karakteristika pedimentalne dekoracije je Barbarov grb

on i Daniele Barbaro bili moni venecijanski aristokrati (papinski prelat i prominentni dravnik)

1560-2 Veronese dekorirao interijer sa setom trompe l'oeil muralima

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