Editing Palladian architecture (section)

==Palladio's architecture==
[[File:Palladio Villa Godi.jpg|thumb|left|"True Palladianism" at the [[Villa Godi]] (1537–1542) – from Palladio's ''[[I quattro libri dell'architettura]]''. The flanking pavilions are agricultural buildings not part of the villa. In the 18th century, the connecting colonnades evolved as [[enfilade (architecture)|enfilades of rooms]] while the pavilions often became self-contained wings or blocks – a common feature of 18th century Palladianism|alt=[[Villa Godi]] flanked by two structures.]]

[[Andrea Palladio]] was born in [[Padua]] in 1508, the son of a [[stonemason]].{{sfn|Tavernor|1991|p=18}} He was inspired by [[Roman architecture|Roman buildings]], the writings of [[Vitruvius]] (80&nbsp;BC), and his immediate predecessors [[Donato Bramante]] and [[Raphael]]. Palladio aspired to an architectural style that used [[symmetry]] and [[Proportion (architecture)|proportion]] to emulate the grandeur of [[Classical antiquity|classical]] buildings.{{sfn|Curl|2016|p=549}} His surviving buildings are in [[Venice]], the [[Veneto]] region, and [[Vicenza]],<ref>{{cite web|url=https://whc.unesco.org/en/list/712/|title=City of Vincenza and the Palladian villas of the Veneto|publisher=[[UNESCO]]|access-date=19 June 2022|archive-date=30 November 2021|archive-url=https://web.archive.org/web/20211130082439/http://whc.unesco.org/en/list/712|url-status=live}}</ref> and include [[Palladian villas of the Veneto|villas]] and churches such as the [[Il Redentore|Basilica del Redentore]] in Venice.{{sfn|Wundram|Pape|2004|p=156}} Palladio's architectural [[treatise]]s follow the approach defined by Vitruvius and his 15th-century disciple [[Leon Battista Alberti]], who adhered to principles of classical Roman architecture based on mathematical proportions rather than the ornamental style of the [[Renaissance]].{{sfn|Wittkower|1988|p=31}} Palladio recorded and publicised his work in the 1570 four-volume illustrated study, ''I quattro libri dell'architettura'' (The Four Books of Architecture).{{sfn|Curl|2016|p=551}}

Palladio's [[villa]]s are designed to fit with their setting.{{sfn|Wundram|Pape|2004|p=240}} If on a hill, such as [[Villa Capra "La Rotonda"|Villa Almerico Capra Valmarana]] (Villa Capra, or La Rotonda), [[façade]]s were of equal value so that occupants could enjoy views in all directions.{{sfn|Wundram|Pape|2004|p=186}} [[Portico]]s were built on all sides to enable the residents to appreciate the countryside while remaining protected from the sun.{{sfn|Worsley|2007|p=129}}{{refn|Palladio's description of the Villa Capra includes the commentary; "One enjoys the most beautiful views on all sides and for this reason, porticos have been built on all four sides."{{sfn|Kruft|1994|p=90}}|group=n}} Palladio sometimes used a [[loggia]] as an alternative to the portico. This is most simply described as a recessed portico, or an internal single storey room with pierced walls that are open to the elements. Occasionally a loggia would be placed at second floor level over the top of another loggia, creating what was known as a double loggia.<ref>{{cite web|url=https://www.palladiomuseum.org/veneto/opera/17|title=Palazzo Chiericati|publisher=Palladio Museum|access-date=2 July 2022|archive-date=19 October 2021|archive-url=https://web.archive.org/web/20211019130854/https://www.palladiomuseum.org/veneto/opera/17|url-status=live}}</ref> Loggias were sometimes given significance in a façade by being surmounted by a [[pediment]]. [[Villa Godi]]'s focal point is a loggia rather than a portico, with loggias terminating each end of the main building.{{sfn|Copplestone|1963|p=251}}

[[File:08-Villa-Rotonda-Palladio.jpg|thumb|right|[[Villa Capra "La Rotonda"]] (begun {{circa|1565}}) – one of Palladio's most influential designs|alt=See caption]]
Palladio would often model his villa elevations on [[Roman temple]] façades. The temple influence, often in a [[cruciform]] design, later became a [[trademark]] of his work.{{sfn|Tavernor|1991|p=77}}{{refn|[[Giles Worsley]], in his study ''Inigo Jones and the European Classicist Tradition'', writes; "The portico is so strongly associated today with the country house, and specifically with Palladio's villas, it is easy to forget that, outside of the Veneto, it was principally associated with religious buildings until the late seventeenth century".{{sfn|Worsley|2007|p=129}}|group=n}} Palladian villas are usually built with three floors: a [[Rustication (architecture)|rusticated]] basement or ground floor, containing the service and minor rooms; above this, the ''[[piano nobile]]'' (noble level), accessed through a portico reached by a flight of external steps, containing the principal reception and bedrooms; and lastly a low [[Mezzanine (architecture)|mezzanine]] floor with secondary bedrooms and accommodation. The proportions of each room (for example, height and width) within the villa were calculated on simple mathematical ratios like 3:4 and 4:5. The arrangement of the different rooms within the house, and the external façades, were similarly determined.<ref>{{cite journal|url=https://link.springer.com/content/pdf/10.1007/s00004-998-0011-3.pdf|first=Stephen R.|last=Wassell|title=The Mathematics of Palladio's Villas|journal=Nexus Network Journal|date=19 January 2004|doi=10.1007/s00004-998-0011-3|s2cid=119876036|access-date=2 July 2022|archive-date=26 June 2022|archive-url=https://web.archive.org/web/20220626085533/https://link.springer.com/content/pdf/10.1007/s00004-998-0011-3.pdf|url-status=live}}</ref>{{refn|Wundram and Pape describe Palladio's approach in the chapter on the Villa Capra in their 2004 study, ''Palladio: The Complete Buildings''; "The proportions and principles become clear in the ground-plan with positively mathematical precision. The porticos take up half the width of the cubical central building. The column entrance halls and flights of steps each correspond to half the depth of the core of the building. In other words, the sum of the four porticos and flights of steps covers the same area as the main building."{{sfn|Wundram|Pape|2004|p=194}}|group=n}} Earlier architects had used these formulas for balancing a single symmetrical façade; however, Palladio's designs related to the entire structure.{{sfn|Copplestone|1963|p=251}} Palladio set out his views in ''I quattro libri dell'architettura'': "beauty will result from the form and correspondence of the whole, with respect to the several parts, of the parts with regard to each other, and of these again to the whole; that the structure may appear an entire and complete body, wherein each member agrees with the other, and all necessary to compose what you intend to form."<ref>{{cite web|url=https://conservancy.umn.edu/bitstream/handle/11299/183051/MathematicalBeautyinRenaissanceArchitecture_Essay.pdf?sequence=4&isAllowed=y|first=Samantha|last=Matuke|title=Mathematical Beauty in Renaissance Architecture|publisher=Renaissance Architecture|date=12 May 2016|access-date=16 July 2022|archive-date=5 July 2022|archive-url=https://web.archive.org/web/20220705191318/https://conservancy.umn.edu/bitstream/handle/11299/183051/MathematicalBeautyinRenaissanceArchitecture_Essay.pdf?sequence=4&isAllowed=y|url-status=live}}</ref>

Palladio considered the dual purpose of his villas as the centres of farming estates and weekend retreats.<ref>{{Cite news|url=https://www.bbc.com/news/magazine-34143566|title=Palladio: The architect who inspired our love of columns|last=Kerley|first=Paul|date=10 September 2015|access-date=2 July 2022|publisher=[[BBC News]]|archive-date=6 March 2019|archive-url=https://web.archive.org/web/20190306045856/https://www.bbc.com/news/magazine-34143566|url-status=live}}</ref> These symmetrical temple-like houses often have equally symmetrical, but low, wings, or [[barchessa]]s, sweeping away from them to accommodate horses, farm animals, and agricultural stores.{{sfn|O'Brien|Guinness|1993|p=52}} The wings, sometimes detached and connected to the villa by [[colonnade]]s, were designed not only to be functional but also to complement and accentuate the villa. Palladio did not intend them to be part of the main house, but the development of the wings to become integral parts of the main building – undertaken by Palladio's followers in the 18th century – became one of the defining characteristics of Palladianism.{{sfn|Copplestone|1963|pp=251–252}}