Andrea Palladio ( pə-LAH-dee-oh; Italian: [anˈdrɛːa palˈlaːdjo]; Venetian: Andrea Paładio; 30 November 1508 – 19 August 1580) was an Italian Renaissance architect active in the Venetian Republic. Palladio, influenced by Roman and Greek architecture, primarily Vitruvius, is widely considered to be one of the most influential individuals in the history of architecture. While he designed churches and palaces, he was best known for country houses and villas. His teachings, summarized in the architectural treatise, The Four Books of Architecture, gained him wide recognition.
The city of Vicenza, with its 23 buildings designed by Palladio, and his 24 villas in the Veneto are listed by UNESCO as part of a World Heritage Site named City of Vicenza and the Palladian Villas of the Veneto. The churches of Palladio are to be found within the "Venice and its Lagoon" UNESCO World Heritage Site.
Palladio was born on 30 November 1508 in Padua and was given the name Andrea di Pietro della Gondola (Venetian: Andrea de Piero de ła Gondoła). His father, Pietro, called "della Gondola", was a miller. From an early age, Andrea Palladio was introduced to the work of building. When he was thirteen, his father arranged for him to be an apprentice stonecutter for a period of six years in the workshop of Bartolomeo Cavazza da Sossano, a noted sculptor, whose projects included the altar in the Basilica del Carmine in Padua. Bartolomeo Cavazza is said to have imposed particularly hard working conditions: Palladio fled the workshop in April 1523 and went to Vicenza, but was forced to return to fulfil his contract. In 1524, when his contract was finished, he moved permanently to Vicenza, where he resided for most of his life. He became an assistant to a prominent stonecutter and stonemason, Giovanni di Giacomo da Porlezza in Pedemuro San Biagio, where he joined the guild of stonemasons and bricklayers. He was employed as a stonemason to make monuments and decorative sculptures.
His career was unexceptional until 1538–1539; when he had reached the age of thirty, he was employed by the humanist poet and scholar Gian Giorgio Trissino to rebuild his residence, the Villa Trissino at Cricoli. Trissino was deeply engaged in the study of ancient Roman architecture, particularly the work of Vitruvius, which had become available in print in 1486.
In 1540, Palladio received the formal title of architect. In 1541, he made a first trip to Rome, accompanied by Trissino, to see the classical monuments first-hand. He took another, longer trip to Rome with Trissino from the autumn of 1545 to the first months of 1546, and then another trip in 1546–1547. He also visited and studied the Roman works in Tivoli, Palestrina and Albano.
Trissino exposed Palladio to the history and arts of Rome, which gave him inspiration for his future buildings. In 1554 he would publish guides to the city's ancient monuments and churches. Trissino also gave him the name by which he became known, Palladio, an allusion to the Greek goddess of wisdom Pallas Athene and to a character in a play by Trissino. The word Palladio means Wise one.
His earliest work is held to be an addition to Villa Trissino at Cricoli, built before his first trip to Rome.
The earliest of his villas is generally considered to be the Villa Godi (begun 1537). This design already showed the originality of Palladio's conception. A central block is flanked by two wings; the central block is recessed and the two wings are advanced and more prominent. Inside the central block, the piano nobile or main floor opened onto a loggia with a triple arcade, reached by a central stairway. On the reverse of the building, the rounded gallery projects outward to the garden. Palladio made numerous changes and additions over the years, adding lavish frescoes framed by classical columns in the Hall of the Muses of the Villa Godi in the 1550s.
In his early works in Vicenza in the 1540s, he sometimes emulated the work of his predecessor Giulio Romano, but in doing so he added his own ideas and variations. An example was the Palazzo Thiene in Vicenza, which Romano had begun but which, after Romano's death, Palladio completed. It was his first construction of a large townhouse. He used Romano's idea for windows by stone
corbeaux, a ladder of stone blocks, but Palladio gave the heavy facade a new lightness and grace.
Several other villas of this time are attributed to Palladio, including the Villa Piovene (1539) and Villa Pisani (1542). Of the Villa Pisani, only the central structure of the original plan remains. The loggia is opened by three arcades beneath a frieze, beneath a pediment. The interior of the main hall has a barrel-vaulted ceiling lavishly decorated with murals of mythological themes.
One of the most important works of his early Vicenza period is the Basilica Palladiana in Vicenza (1546), the palace of the city government. Palladio called it "Basilica", explaining that the functions and form of a modern city hall resembled those of an ancient Roman Basilica. He did not construct the building from the ground up, but added two-story loggias to the exterior of an older building, which had been finished in 1459. For the facade, Palladio made use of two levels of arcades with rounded arches and columns, which opened the exterior of the building to the interior courtyard. The arcades were divided by columns and small circular windows (oculi), with a variety and richness of decorative detail. The building was not completed until 1617, after Palladio's death. Its design had a notable influence on many buildings across Europe, from Portugal to Germany.
Variations of the urban palace
Palazzo Chiericati (begun in 1550) was another urban palace, built on a city square near the port in Vicenza. It was constructed after the Palazzo della Ragione, but it was very different in its plan and decoration. The two-story facade with a double loggia was divided into eleven spaces by rows of Doric columns, while a Doric cornice separated the lower level from the more important piano nobile above. The original plan of Palladio had the upper level identical to the lower level, but the owners wanted more space for ceremonies, so the central section on the piano nobile was brought forward and given windows with decorative frontons, doubling the interior space.
The Palazzo del Capitaniato, the offices of the Venetian governor of the region, is a later variation on the urban palace, built in Vicenza facing the Basilica Palladiana, and the finest of his late urban palaces. The four brick half-columns on the facade give a strong element of verticality, carefully balanced by the horizontal balustrades on the piano nobile, and on the projecting cornice at the top. The red brick of the walls and columns and the white stone of the balustrades and bases of the columns give another contrast. The facade was later given stucco sculptural decoration in the Mannerist style, which has considerably deteriorated.
The success of the Basilica Palladiana propelled Palladio into the top ranks of the architects of Northern Italy. He had travelled to Rome in 1549, hoping to become a Papal architect, but the death of Pope Paul III ended that ambition. His patron, Gian Giorgio Trissino, died in 1550, but in the same year Palladio gained a new supporter, the powerful Venetian aristocrat Daniele Barbaro. Through Barbaro he became known to the major aristocratic families of Northern Italy. In addition to the Barbaros, the aristocratic Cornaro, Foscari, and Pisani families supported Palladio's career, while he continued to construct a series of magnificent villas and palaces in Vicenza in his new classical style, including the Palazzo Chiericati in Vicenza, the Villa Pisani in Montagnana, and the Villa Cornaro in Piombino Dese.
Cardinal Barbaro brought Palladio to Rome and encouraged him to publish his studies of classical architecture. In 1554, he published the first of a series of books, Antiquities of Rome. He continued to compile and write his architectural studies, lavishly illustrated, which were published in full form in 1570 as I quattro libri dell'architettura (The Four Books of Architecture), in Venice. These books, reprinted in different languages and circulated widely in Europe, secured his reputation as the most influential figure in the renewal of classical architecture, a reputation which only continued to grow after his death.