Inigo Jones
Portrait of Inigo Jones painted by William Hogarth in 1758 from a 1636 painting by Sir Anthony van Dyck
Born	baptised (1573-07-29)29 July 1573 London
Died	21 June 1652(1652-06-21) Somerset House, London
Nationality	English
Work
Buildings	Banqueting House, Whitehall Queen's House Wilton House Covent Garden

Inigo Jones (or Íñigo Jones) (15 July 1573 – 21 June 1652) is the first significant British architect of the modern period, and the first to bring Italianate Renaissance architecture to England. He left his mark on London by single buildings, such as the Banqueting House, Whitehall, and in area design for Covent Garden square which became a model for future developments in the West End. He also made major contributions to stage design by his work as theatrical designer for several dozen masques, most by royal command and many in collaboration with Ben Jonson.

Early life and career[link]

Beyond the fact that he was born in Smithfield in central London, the son of a Welsh Catholic cloth worker,^[1] and christened at the church of St Bartholomew-the-Less, little is known about Jones's early years. Jones did not approach the architectural profession in the traditional way, namely either by rising up from a craft or through early exposure to the Office of Works, although there is evidence that Sir Christopher Wren obtained information that recorded Inigo Jones as an apprentice joiner in St Paul's Churchyard.^[2] Regardless, he unquestionably appears in the household accounts of the Earl of Rutland in 1603 as “Henygo Jones, a picture maker”. His early career seems to have been devoted to the devising of costumes and scenery for masques, plays and other court entertainment.

Inigo Jones, by Anthony Van Dyck

He is credited with introducing movable scenery and the proscenium arch to English theatre. Between 1605 and 1640, Jones was responsible for staging over 500 performances, collaborating with Ben Jonson for many years, despite a relationship fraught with competition and jealousy: the two had famous arguments about whether stage design or literature was more important in theatre. (Jonson ridiculed Jones in a series of his works, written over a span of two decades.).^[3] Over 450 drawings for the scenery and costumes survive, surviving evidence of Jones’s virtuosity as a draughtsman and understanding of Italian set design, particularly that of Alfonso and Giulio Parigi. It is important to understand that there was no conception of such draughtsmanship in England at this time, although it had been the medium used by Italian painters, sculptors and architects for about a hundred years. Around this time, Jones also learnt how to speak Italian fluently and obtained an Italian copy of Andrea Palladio’s I quattro libri dell'architettura (first published in 1570): all indicating that Jones made his first formative trip to Italy between 1598–1603, possibly funded by Roger Manners, 5th Earl of Rutland. These drawings of set design and costume reveal an interesting development in Jones’s draughtsmanship between 1605 and 1609, initially showing “no knowledge of Renaissance draughtsmanship”, then in 1609, exhibiting an “accomplished Italianate manner”.^[4] This offers potential evidence of a second visit to Italy, possibly around 1606,^[5] influenced by the ambassador Henry Wotton: there is evidence that Jones owned a copy of Andrea Palladio's works with marginalia that refer to Wotton. His work became particularly influenced by Palladio.^[6] To a lesser extent, he also held that the setting out of buildings should be guided by principles first described by ancient Roman writer Vitruvius.

Jones’s first recorded structural work is his monument to Lady Cotton, circa 1608, showing early signs of his classical intentions.^[7] Around this time, Jones also produced drawings for the New Exchange in the Strand and the central tower of St. Paul’s Cathedral, displaying a similar practical architectural inexperience and immature handling of themes from sources including Palladio, Serlio and Sangallo. In 1609, Inigo Jones appears as an architectural consultant at Hatfield House, making small modifications to the design as the project progressed, and in 1610, Jones was appointed Surveyor to Henry Frederick, Prince of Wales and in this position, Jones devised a masque for the Prince and was possibly involved in some alterations to St James’s Palace.

Then, on 27 April 1613, Inigo Jones was appointed the position of Surveyor of the King’s Works and shortly after, embarked on a tour of Italy with Earl of Arundel, destined to become one of the most important patrons in the history of English art. On this trip, Jones was exposed to the architecture of Rome, Padua, Florence, Vicenza, Genoa and Venice amongst others, and his surviving sketchbook indicates his preoccupation with the art of such artists as Parmigianino and Schiavone. He is also known to have met Vicenzo Scamozzi at this time too. His annotated copy of Palladio’s Quattro libri dell’ architecttura also demonstrates his close interest in classical architecture: Jones gave priority to Roman antiquity rather than observing the contemporary fashion in Italy. He was probably the first Englishman to study these Roman remains first hand and this was key to the new architecture Inigo Jones introduced in England.

Architecture[link]

In September of 1615, Inigo Jones was appointed Surveyor-General of the King’s Works, marking the beginning of Jones’s career in earnest. Fortunately, both James I and Charles I spent lavishly on their buildings, contrasting hugely with the economical court of Elizabeth I. As the King’s Surveyor, Jones built some of his key buildings in London.

In 1616, work began on the Queen's House, Greenwich, for James I’s wife, Anne of Denmark. With the foundations laid and the first storey built, work stopped suddenly when Anne died in 1619. Work resumed in 1629, but this time for Charles I’s Queen, Henrietta Maria. It was finished in 1635 and was the first strictly classical building in England, employing ideas found in the architecture of Palladio and ancient Rome. This is Inigo Jones's earliest surviving work. Then, between 1619 and 1622, the Banqueting House in the Palace of Whitehall was built, a design derived from buildings by Scamozzi and Palladio and with a ceiling painted by Peter Paul Rubens. The Banqueting House was one of several projects where Jones worked with his personal assistant and nephew by marriage John Webb.

The Queen's Chapel, St. James's Palace, was built between 1623 and 1627, for Charles I’s Catholic wife, Henrietta Maria. Parts of the design originate in the Pantheon of ancient Rome and Jones evidently intended the church to evoke the Roman temple.

These buildings show the realisation of a mature architect with a confident grasp of classical principles and an intellectual understanding of how to implement them. At the time, these buildings stood without contemporary parallels in England, France or Italy.

The other project in which Jones was involved was the design of Covent Garden square. He was commissioned by the Earl of Bedford to build a residential square, which he did along the lines of an Italian piazza.^[8] The Earl felt obliged to provide a church and he warned Jones that he wanted to economise. He told him to simply erect a "barn" and Jones's oft-quoted response was that his lordship would have "the finest barn in Europe". In the design of St Paul's, Jones faithfully adhered to Vitruvius’s design for a Tuscan temple and it was the first wholly and authentically classical church built in England. The inside of St Paul's, Covent Garden was gutted by fire in 1795, but externally it remains much as Jones designed it and dominates the west side of the piazza.

The Queen's House at Greenwich

Another large project Jones undertook was the repair and remodelling of St Paul’s Cathedral. Between the years of 1634 and 1642, Jones wrestled with the dilapidated Gothicism of Old St Paul’s, casing it in classical masonry and totally redesigning the west front. Jones incorporated the giant scrolls from Vignola and della Porta’s Church of the Gesù with a giant Corinthian portico, the largest of its type north of the Alps. Sadly, it was destroyed in the Great Fire of London in 1666. Also around this time, circa 1638, Jones devised drawings completely redesigning the Palace of Whitehall, but the execution of these designs was frustrated by Charles I’s financial and political difficulties.

More than 120 buildings have been attributed to Jones but only a very small number of those are certainly his work. In the 1630s, Jones was in high demand and, as Surveyor to the King, his services were only available to a very limited circle of people, so often projects were commissioned to other members of the Works. Stoke Bruerne Park in Northamptonshire was built by Sir Francis Crane, “receiving the assistance of Inigo Jones”, between 1629 and 1635. Jones is also thought to have been involved in another country house, this time in Wiltshire. Wilton House was renovated from about 1630 onwards, at times worked on by Jones, then passed on to Isaac de Caus when Jones was too busy with royal clients. He then returned in 1646 with his student, John Webb, to try and complete the project. Many other buildings have been attributed to Inigo Jones, but the majority will be the product of plagiarism and poor imitation. Contemporary equivalent architects included Edward Carter^{[disambiguation needed ]}, Sir Balthazar Gerbier and Nicholas Stone.

Later life[link]

Inigo Jones's career effectively ended with the outbreak of the English Civil War in 1642 and the seizure of the King's houses in 1643. His property was later returned to him (c.1646) but Jones ended his days, unmarried, living in Somerset House and was subsequently buried with his parents in the Church of St Benet Paul's Wharf, the Welsh church of the City of London. John Denham and then Christopher Wren followed him as King's Surveyor of Works. A monument dedicated to him was destroyed in the Great Fire in 1666.

Legacy[link]

He was an influence on a number of 18th century architects, notably Lord Burlington and William Kent. There is an Inigo Jones Road in Charlton, south east London (SE7). A bridge in Llanrwst, north Wales named "Pont Fawr" is also known locally as "Pont Inigo Jones" – Inigo Jones's Bridge.

List of architectural works[link]

• Design for the completion of the central tower, old St Paul's Cathedral, not executed (c.1608)
• Design for the New Exchange in the Strand, London, not executed (c.1608)
• The Queen's House, Greenwich, (1616–1619) work suspended on the death of Anne of Denmark completed (1630–1635) for Henrietta Maria of France
• Design for the Star Chamber building, not executed (1617)
• Gateway at Oatlands Palace, (1617) now at Chiswick House
• Gateway at Arundel House, (1618) demolished
• Banqueting House, Whitehall (1619–22)
• Prince's Lodging, Newmarket for Henry Frederick, Prince of Wales, (1619) demolished
• The Queen's Chapel, St. James's Palace, (1623–27) for Henrietta Maria of France
• The Cockpit Theatre, Palace of Whitehall (1629) demolished
• Stoke Park Pavilions, Northamptonshire, attributed (c. 1629–35)
• Somerset House Chapel, (1630–35) demolished
• Covent Garden, London, houses on the north and east side as well as St Paul's, Covent Garden on the west (1631–1637) only the church survives
• Old St Paul's Cathedral, new west front and remodelling of the nave and transepts (1634–42) destroyed in the Great Fire of London
• Wilton House, Wiltshire (1636–40) the interior burnt c.1647, rebuilt to the designs of John Webb (1648)
• Sir Peter Killigrew's House, Blackfriars, London (1630s) not known if built
• Palace of Whitehall, various schemes for the complete rebuilding of the palace (c. 1637–39)
• Lord Maltravers's House, Lothbury, London (1638) if built destroyed in the Great Fire of London
• Temple Bar, London, design for triumpal arch, not executed (1638)
• Screen in Winchester Cathedral (c.1638) demolished
• Also design for a row of house in Lothbury for Thomas Howard, 21st Earl of Arundel (c.1638) destroyed in the Great Fire of London
• Lindsey House, Lincoln's Inn Fields now numbers 59 & 60, attributed (c. 1638–40)^[9]

Gallery of architectural works[link]

• 

  Banqueting House Whitehall

• 

  Banqueting House Whitehall

• 

  Detail of the Banqueting House Whitehall

• 

  Interior looking south, Banqueting House Whitehall

• 

  Interior looking north, Banqueting House Whitehall

• 

  Ceiling, with Rubens paintings, Banqueting House Whitehall

• 

  Design to rebuild Whitehall Palace

• 

  West front, nave and transepts, Old St. Paul's Cathedral, as remodelled by Jones

• 

  North front, The Queen's House, Greenwich

• 

  South front, The Queen's House, Greenwich

• 

  South front, The Queen's House, Greenwich

• 

  Tulip Stair, The Queen's House, Greenwich

• 

  Plan, The Queen's House, Greenwich

• 

  Covent Garden

• 

  St. Paul's Covent Garden

• 

  Gateway from Oatlands, now at Chiswick House

• 

  Wilton House, Wiltshire

• 

  Queen's Chapel, St. James Palace, London

• Stoke Park Pavilions 2008 08 16.jpg

  Stoke Park, attributed

• 

  Design for a new theatre

References[link]

• Colvin, Howard, "A Biographical Dictionary of British Architects: 1600 to 1840", 1954
• Orgel, Steven and Strong, Roy C., "Inigo Jones and the theatre of the Stuart Court", 1973
• Gotch, A J, "Inigo Jones", 1968
• Hart, Vaughan. Art and Magic in the Court of the Stuarts. London, Routledge, 1994.
• Chaney, Edward, The Evolution of the Grand Tour: Anglo-Italian Cultural Relations since the Renaissance, London, Routledge, 2000.
• Chaney, Edward, 'Evelyn, Inigo Jones, and the Collector Earl of Arundel', John Evelyn and his Milieu, eds F. Harris and M. Hunter (The British Library, 2003).
• Leapman, Michael. Inigo: The Troubled Life of Inigo Jones, Architect of the English Renaissance. London, Headline Book Publishing, 2003.
• Chaney, Edward, Inigo Jones's 'Roman Sketchbook', 2 vols, London, The Roxburghe Club, 2006.
• Giles Worsley, Inigo Jones and the European Classicist Tradition (New Haven and London, 2007).
• Christy Anderson, Inigo Jones and the Classical Tradition (Cambridge, 2007).
• Edward Chaney, "Roma Britannica and the Cultural Memory of Egypt: Lord Arundel and the Obelisk of Domitian", in Roma Britannica: Art Patronage and Cultural Exchange in Eighteenth-Century Rome, eds. D. Marshall, K. Wolfe and S. Russell, British School at Rome, 2011, pp. 147–70.
• Vaughan Hart, Inigo Jones, the Architect of Kings, London and New Haven, Yale University Press, 2011

External links[link]

Wikimedia Commons has media related to: Inigo Jones

•  "Inigo Jones". Catholic Encyclopedia. New York: Robert Appleton Company. 1913. 
• Biography of Inigo Jones, Royal Institute of British Architects.
• Oxford Dictionary of National Biography
• "An Early Drawingby Inigo Jones and a monument in Shropshire" The Burlington Magazine, Vol. 115, No. 843, June 1973
• Inigo Jones at the National Portrait Gallery, London

David Gordon "Slim Dusty " Kirkpatrick AO, MBE (13 June 1927—19 September 2003) was an Australian country music singer-songwriter and producer, with a career spanning nearly seven decades. He was known to record songs in the legacy of Australian poets Henry Lawson and Banjo Patterson that represented the Australian Bush Lifestyle, and also for his many trucking songs. Dusty was the first Australian to have a No. 1 Hit song with Gordon Parsons (Pub With No Beer).^[1] He received an unequalled 37 Golden Guitar and two ARIA awards and was inducted into the ARIA Hall of Fame and the Country Music Roll of Renown. At the time of his death at the age of 76, Dusty had been working on his 106th album for EMI Records. In 2007 his domestic record sales in Australia surpassed seven million.

Early life and career[link]

David Gordon Kirkpatrick was born on 13 June 1927 in Kempsey, New South Wales, the son of a cattle farmer. Kirkpatrick adopted the stage name "Slim Dusty" in 1938 at eleven years of age.^[2] His earliest musical influences included Jimmie Rodgers. In 1945, Dusty wrote When the Rain Tumbles Down in July and released his first record that year at the age of eighteen. In 1946, he signed his first recording contract with Columbia Graphophone for the Regal Zonophone label.^[3]

Rise to fame and enduring popularity[link]

Statue of "The Cunnamulla Fella" erected as a tribute to song writer, Stan Coster and singer, Slim Dusty.

In 1951 Dusty married singer-songwriter Joy McKean and, with her help, achieved great success around Australia. In 1954 the two launched a full time business career, including the Slim Dusty Travelling Show. McKean was Dusty's wife and manager for over 50 years. Together the couple had two children, Anne Kirkpatrick and David Kirkpatrick, who are also accomplished singer-songwriters.^[4] McKean wrote several of Dusty's most popular songs, including: "Walk A Country Mile", "Indian Pacific", "Kelly's Offsider", "The Angel Of Goulburn Hill" and "The Biggest Disappointment".^[5] Although himself an accomplished writer of songs, Dusty had a number of other songwriters, including Mack Cormack, Gordon Parsons, Stan Coster, and Kelly Dixon, who were typically short on formal education but big on personal experience of the Australian bush. Drawing on his travels and such writers over a span of decades, Dusty chronicled the story of a rapidly changing postwar Australian nation. Nevertheless, the arrival of rock and roll music saw major metropolitan music radio stations abandon support for country artists, and despite record sales in the multimillions, after the 1950s Dusty was rarely heard on-air outside regional centres in Australia.^[6]

Dusty's 1957 hit "A Pub With No Beer" was the biggest-selling record by an Australian to that time, the first Australian single to go gold, and the first and only 78 rpm record to be awarded a gold disc.^[7] Over the course of his career, he collected more gold and platinum albums than any other Australian artist. (The "Pub with No Beer" is a real place, in Taylors Arm, not far from Kempsey where Slim was born).^[8] In 1959 and 1960 Dutch and German cover versions of the song became number one hits (even evergreens) in Belgium, Austria and Germany, brought by the Flemish country singer-guitarist and amusement park founder Bobbejaan Schoepen.

1964 saw the establishment of the annual Slim Dusty Australia-round tour, a 48,280 kilometres (30,000 mi) journey that went on for ten months. This regular event was the subject of a feature film, The Slim Dusty Movie, in 1984.

Dusty recorded not only songs written by himself and other fellow Australian performers but also classic Australian poems by Henry Lawson and Banjo Paterson, with new tunes to call attention to the old 'Bush Ballads.' An example is The Man from Snowy River by Paterson. In 1970 he was made a Member of the Order of the British Empire for services to music.^[9] In 1973 he won Best Single at the inaugural Country Music Awards of Australia at the Tamworth Country Music Festival (McKean won Song of the Year as writer of "Lights On The Hill"). In all, he won a record 35 "Golden Guitars" over the years.

Slim Dusty and his wife were patrons of the National Truck Drivers' Memorial located at Tarcutta, New South Wales. The General Manager of the Grand Ole Opry in Nashville, Tennessee, invited him and his wife to perform in 1997, recognising 50 years contributing to Country Music. The following January, he was awarded an Officer of the Order of Australia for his service to the entertainment industry.^[10]

Dusty recorded and released his one hundredth album, Looking Forward, Looking Back, in 2000. All 100 albums had been recorded with the same record label, EMI, making Dusty the very first music artist in the world to record 100 albums with the same label.^[11] He was then given the honour of singing Waltzing Matilda in the Closing Ceremony of the Sydney 2000 Olympic Games, with the whole stadium singing along with him.

Death[link]

Dusty died at his home in St Ives, New South Wales, on 19 September 2003 at the age of 76 after a protracted battle with cancer.^[12]

Thousands gathered at St. Andrew's Cathedral, Sydney, on 26 September 2003 at a state funeral attended by the prime minister and the opposition leader. Anglican Dean of Sydney Phillip Jensen's tribute included leading the congregation of family, statesmen, fans, and musicians in the singing of "A Pub With No Beer". The funeral featured tributes from Slim's children as well as words from other national music stars (Peter Garrett and John Williamson) and music from Graeme Connors, Kasey Chambers, and Troy Cassar-Daley. Thousands of fans travelled from around Australia to stand outside the cathedral.^[13]

At the time of his death, Dusty had been working on his 106th album for EMI. The album Columbia Lane - the Last Sessions debuted at number five in the Australian album charts and number one on the country charts on 8 March 2004. It went gold after being on sale for less than two weeks.

Columbia Lane is a tribute to the laneway juxtaposed to Parramatta Road in Strathfield (near the railway bridge link), where the EMI studios once stood (now Kennards Hire), and it is where he traversed to begin his music career.

In 2004, Tamworth hosted the "Concert for Slim" as a memorial tribute featuring more than 30 Australian musical artists including Paul Kelly, Keith Urban, Lee Kernaghan and Kasey Chambers^[14]

In 2005, a statue of the "Cunumulla Fella" was unveiled in Cunnamulla, Queensland, in tribute to Dusty and Stan Coster and to the iconic song of that name performed by Dusty with lyrics by Coster.^[15] The song recalls Coster's days working as a sheep-shearing "ringer" around Cunnamulla in the 1950s. Dusty recorded the song and it became an enduring country music hit, later covered by Lee Kernaghan. The statue was unveiled by country music personalities Anne Kirkpatrick (Dusty's daughter), Jayne Kelly, and Tracy and Russell Coster.^[16][17]

EMI Records' Australian sales of Slim Dusty records surpassed 7 million in 2007.^[18]

Honours and milestones[link]

Slim Dusty was Australia's most successful and prolific musical artist, with more Gold and Platinum albums than any other Australian artist.^[19] Slim Dusty was also:^[11]

• The first Australian to receive a Gold Record.
• The first Australian to have an international record hit (Pub with No Beer).
• made a Member of the Order of the British Empire and an Officer of the Order of Australia for services to entertainment.
• The first artist broadcast from space when astronauts played his rendition of Waltzing Matilda from Space Shuttle Columbia as it passed over Australia on its maiden flight in 1981.^[20]
• the winner of an unequalled 36 [Golden Guitar awards] from 72 nominations at the Tamworth Country Music Festival. (see www.country.com.au/cmaa-awards/winners-archive)
• one of the earliest members of Australia's country music Roll of Renown.
• the achiever of more Gold Record and Platinum Record Awards than any other Australian artist.
• Inducted into the ARIA Hall of Fame and the ARIA Special Achievement Award.

Legacy[link]

• EMI Records' Australian sales of Slim Dusty records surpassed 7 million in 2007.^[18]
• Slim Dusty was a guest on the Wiggles' children DVD "Wiggly Wiggly World".
• His daughter Anne Kirkpatrick is also an award-winning country singer.
• Slim's life was the subject of a 1984 feature film: The Slim Dusty Movie"
• The Slim Dusty Centre will be built in Kempsey, NSW, Slim’s home town.^[21]
• The 2010 book 100 Best Australian Albums by Toby Creswell, Craig Mathieson and John O'Donnell ranked The Very Best of Slim Dusty as the 24th best Australian album of the last 50 years.^[22]

Discography[link]

• Slim Dusty discography (incomplete)

References[link]

External links[link]

• Official Website (includes a more thorough discography)
• Slim Dusty at the National Film and Sound Archive
• Slim Dusty Centre Project
• Listen to a clip from 'Pub With No Beer' and read more about it on australianscreen online
• 'Pub With No Beer' was added to the National Film and Sound Archive's Sounds of Australia Registry in 2008

Andrea Palladio
Portrait of Palladio from 1576
Born	(1508-11-30)30 November 1508 Padova, Republic of Venice
Died	19 August 1580(1580-08-19) (aged 71) Maser, near Treviso
Nationality	Venetian
Work
Buildings	Villa Barbaro Villa Capra "La Rotonda" Basilica Palladiana Church of San Giorgio Maggiore Il Redentore Teatro Olimpico
Projects	I Quattro Libri dell'Architettura (The Four Books of Architecture)

Andrea Palladio (30 November 1508 – 19 August 1580) was an architect active in the Republic of Venice. Palladio, influenced by Roman and Greek architecture, primarily by Vitruvius, is widely considered the most influential individual in the history of Western architecture. All of his buildings are located in what was the Venetian Republic, but his teachings, summarized in the architectural treatise, The Four Books of Architecture, gained him wide recognition.^[1] The city of Vicenza and the Palladian Villas of the Veneto are UNESCO World Heritage Sites.

Biography[link]

He was born on November 30, 1508 in Padua under the name of Andrea Di Pietro della Gondola and lived until August 19, 1580.^[2] His father Pietro called "della Gondola" was a miller. From early on, Andrea Palladio was introduced into the work of building. In Padua he gained his first experiences as a stonecutter in the sculpture workshop of Bartolomeo Cavazza da Sossano, who is said to have imposed particularly hard working conditions. At the age of 16 he moved to Vicenza where he would reside for most of his life. In fact, in April 1524, after one failed attempt, Palladio managed to run away to Vicenza. Here he became an assistant in the Pedemuro studio, a leading workshop of stonecutters and masons. He joined a guild of stonemasons and bricklayers. He was employed as a stonemason to make monuments and decorative sculptures. These sculptures reflected the Mannerist style of the architect Michele Sanmicheli.

Perhaps the key moment that sparked Palladio's career was being employed by the Humanist poet and scholar, Gian Giorgio Trissino, from 1539 to 1538. While Trissino was reconstructing the Villa Cricoli, he took interest in Palladio's work. Trissino was heavily influenced by the studies of Vitruvius, who later influenced Palladio's own ideals and attitudes towards classical architecture. As the leading intellectual in Vicenza, Trissino stimulated the young man to appreciate the arts, sciences and Classical literature and granted him the opportunity to study Ancient architecture in Rome.^[3] It was also Trissino who gave him the name by which he is now known, Palladio, an allusion to the Greek goddess of wisdom Pallas Athene and to a character of a play by Trissino himself. Indeed the word Palladio means Wise one.^[4] After Trissino's death in 1550 Palladio benefited from the patronage of the Barbaro brothers, Cardinal Daniele Barbaro, who encouraged his studies of classical architecture and brought him to Rome in 1554, and the younger brother Marcantonio Barbaro. The powerful Barbaros introduced Palladio to Venice, where he finally became "Proto della Serenissima" (chief architect of the Republic of Venice) after Jacopo Sansovino. In addition to the Barbaros, the Corner, Foscari, and Pisani families supported Palladio's career.^[5]

Andrea Palladio began to develop his own architectural style around 1541. The Palladian style, named after him, adhered to classical Roman principles he rediscovered, applied and explained in his works.^[6]

Andrea Palladio is known to be one of the most influential architects in Western architecture. His architectural works have "been valued for centuries as the quintessence of High Renaissance calm and harmony" (Watkin, D., A History of Western Architecture). He designed many palaces, villas and churches, but Palladio's reputation initially, and after his death, has been founded on his skill as a designer of villas.^[7] The palladian villas are located mainly in the province of Vicenza, while the palazzi are concentrated in the city of Vicenza and the churches in Venice. A number of his works are now protected as part of the World Heritage Site City of Vicenza and the Palladian Villas of the Veneto. Other buildings by Palladio are to be found within the Venice and its Lagoon World Heritage Site.

Palladio's first major public project began when his designs for rebuilding the hall of the town hall known as the Basilica Palladiana were approved in 1548. He proposed an addition of two story stone buttresses reflecting the Gothic style of the existing hall while utilizing classical proportions. The reconstruction was completed in 1617.

Aside from Palladio's designs, his publications contributed to Palladianism. During the second half of his life, Palladio published many books, above all I Quattro Libri dell'Architettura ("The four books of architecture", Venice, 1570). Palladio is most known for his designs of villas and palaces and his books.

The precise circumstances of his death are unknown. Palladio died in 1580, by tradition in Maser, near Treviso, and was buried in the church of Santa Corona in Vicenza; from the 19th century his tomb is located in the Cimitero Maggiore of Vicenza.

Cultural context[link]

Façade of Palazzo Chiericati in Vicenza

Villa Foscari "La Malcontenta", 1550-60

Palladio's architecture was not dependent on expensive materials, which must have been an advantage to his more financially-pressed clients. Many of his buildings are of brick covered with stucco. Stuccoed brickwork was always used in his villa designs in order to portray his interpretations of the Roman villa typology.

In the later part of his career, Palladio was chosen by powerful members of Venetian society for numerous important commissions. His success as an architect is based not only on the beauty of his work, but also for its harmony with the culture of his time. His success and influence came from the integration of extraordinary aesthetic quality with expressive characteristics that resonated with his client's social aspirations. His buildings served to visually communicate their place in the social order of their culture. This powerful integration of beauty and the physical representation of social meanings is apparent in three major building types: the urban palazzo, the agricultural villa, and the church.

Relative to his trips to Rome, Palladio developed three main palace types by 1556. In 1550, the Palazzo Chiericati was completed. The proportions for the building were based on musical ratios for adjacent rooms. The building was centralized by a tripartite division of a series of columns or colonnades. In 1552, the Palazzo Iseppo Porto located in Vicenza was rebuilt incorporating the Roman Renaissance element for facades. A colonnade of Corinthian columns surrounded a main court. The Palazzo Antonini in Udine constructed in 1556 had a centralized hall with four columns and service spaces relatively placed towards one side. He uses styles of incorporating the six columns, supported by pediments, into the walls as part of the facade. This technique had been applied in his villa designs as well. Palladio experimented with the plan of the Palazzo Iseppo Porto by incorporating it into the Palazzo Thiene. It was an earlier project from 1545-1550 and remained uncompleted due to elaborate elevations in his designs. He utilized Mannerist elements such as stucco surface reliefs and large columns often extending two-stories high.

In his urban structures he developed a new improved version of the typical early renaissance palazzo (exemplified by the Palazzo Strozzi). Adapting a new urban palazzo type created by Bramante in the House of Raphael, Palladio found a powerful expression of the importance of the owner and his social position. The main living quarters of the owner on the second level are now clearly distinguished in importance by use of a pedimented classical portico, centered and raised above the subsidiary and utilitarian ground level (illustrated in the Palazzo Porto and the Palazzo Valmarana Braga). The tallness of the portico is achieved by incorporating the owner's sleeping quarters on the third level, within a giant two story classical colonnade, a motif adapted from Michelangelo's Capitoline buildings in Rome. The elevated main floor level became known as the "piano nobile", and is still referred to as the "first floor" in continental Europe.

Statue of Palladio in Vicenza

Palladio also established an influential new building format for the agricultural villas of the Venetian aristocracy. Palladio's approach to his villa designs were not relative to his experience in Rome. He designed based on practicality and employed fewer reliefs. He consolidated the various stand-alone farm outbuildings into a single impressive structure, arranged as a highly organized whole dominated by a strong center and symmetrical side wings, as illustrated at Villa Barbaro. The Villa Rotunda of 1552, outside Vicenza was constructed as a summer house with views on all four sides. The plan has centralized circular halls with wings and porticos expanding on all four sides. Palladio began to implement the classical temple front into his design of facades for villas. He felt that to make an entry appear grand, the Roman temple front would be the most suitable style.The Palladian villa configuration often consists of a centralized block raised on an elevated podium, accessed by grand steps and flanked by lower service wings, as at Villa Foscari and Villa Badoer. This format, with the quarters of the owner at the elevated center of their own world, found resonance as a prototype for Italian villas and later for the country estates of the British nobility (such as Lord Burlington's Chiswick House, Vanbrugh's Blenheim, Walpole's Houghton Hall, and Adam's Kedleston Hall and Paxton House in Scotland). His villas were used by a capitalist gentry who developed an interest in agriculture and land. The configuration was a perfect architectural expression of their worldview, clearly expressing their perceived position in the social order of the times. His influence was extended worldwide into the British colonies. Palladio developed his own prototype for the plan of the villas that was flexible to moderate in scale and function. The Palladian villa format was easily adapted for a democratic worldview, as can be seen at Thomas Jefferson's Monticello and his arrangement for the University of Virginia; and as recently as 1940 in Pope's National Gallery in Washington DC, where the public entry to the world of high culture occupies the exalted center position. The rustication of exposed basement walls of Victorian residences is a late remnant of the Palladian format, clearly expressed as a podium for the main living space for the family.

Similarly, Palladio created a new configuration for the design of Catholic churches that established two interlocking architectural orders, each clearly articulated yet delineating a hierarchy of a larger order overriding a lesser order. This idea was in direct coincidence with the rising acceptance of the theological ideas of St. Thomas Aquinas, who postulated the notion of two worlds existing simultaneously: the divine world of faith and the earthly world of man. Palladio created an architecture which made a visual statement communicating the idea of two superimposed systems, as illustrated at San Francesco della Vigna. In a time when religious dominance in Western culture was threatened by the rising power of science and secular humanists, this architecture found great favor with the Church as a clear statement of the proper relationship of the earthly and the spiritual worlds.

Influence[link]

The front page of I Quattro Libri dell'Architettura (The Four Books of Architecture)

Frontispiece from Colen Campbell's edition of Palladio's First Book of Architecture, published at London, 1728

Palladio's influence was far-reaching, although his buildings are all in a relatively small part of Italy. One factor in the spread of his influence was the publication in 1570 of his architectural treatise I Quattro Libri dell'Architettura (The Four Books of Architecture), which set out rules others could follow. The first book includes studies of decorative styles, classical orders and materials. The second book included Palladio's town and country house designs and classical reconstructions. The third book has bridge and basilica designs, city planning designs, and classical halls. The fourth book included information on the reconstruction of ancient Roman temples. Before this landmark publication, architectural drawings by Palladio had appeared in print as illustrations to Daniele Barbaro's "Commentary" on Vitruvius.^[8]

Interest in his style was renewed in later generations and became fashionable all over Europe, for example in parts of the Loire Valley of France. In Britain, Inigo Jones and Christopher Wren embraced the Palladian style. In his Italian Journey, Johann von Goethe describes Palladio as a genius, commending his unfinished Convent of S. Maria della Carita as the most perfect existing work of architecture. Another admirer was the architect Richard Boyle, 4th Earl of Cork, also known as Lord Burlington, who, with William Kent, designed Chiswick House. The influence of Palladio even got to America. The Capitol building is an example of slightly evolved version of Palladio's works. Thomas Jefferson loved that style of architecture. Exponents of Palladianism include the 18th century Venetian architect Giacomo Leoni who published an authoritative four-volume work on Palladio and his architectural concepts.

Over 330 of Palladio's original drawings and sketches still survive in the collections of the Royal Institute of British Architects,^[9] most of which were originally owned by Inigo Jones. Jones collected a significant number of these on his Grand Tour of 1613-1614, while some were a gift from Henry Wotton.^[10]

The Center for Palladian Studies in America, Inc., a non-profit membership organization, was founded in 1979 to research and promote understanding of Palladio’s influence in the United States.

Chronology of the works[link]

Note: the chronology^[11] is generally referred to the project of the works, not to the construction.

Villas[link]

• 1534: Villa Trissino a Cricoli, Vicenza (once traditionally attributed, but probably designed by Gian Giorgio Trissino)
• 1537-1542: Villa Godi (for Girolamo, Pietro and Marcantonio Godi), Lonedo di Lugo di Vicenza
• 1539 circa: Villa Piovene, Lonedo di Lugo di Vicenza, Province of Vicenza (attributed)
• 1542 - Villa Valmarana, Vigardolo di Monticello Conte Otto, Province of Vicenza
• 1542: Villa Gazzotti (for Taddeo Gazzotti), Bertesina, Vicenza
• 1542 circa: Villa Caldogno (for Losco Caldogno), Caldogno, Province of Vicenza (attributed)
• 1542: Villa Pisani (for Vettore, Marco and Daniele Pisani), Bagnolo di Lonigo, Province of Vicenza
• 1542: Villa Thiene (for Marcantonio and Adriano Thiene), Quinto Vicentino, Province of Vicenza (probably a re-elaboration of a project by Giulio Romano)
• 1543: Villa Saraceno (for Biagio Saraceno), Finale di Agugliaro, Province of Vicenza
• 1546 circa-1563 circa: Villa Pojana (for Bonifacio Pojana), Pojana Maggiore, Province of Vicenza
• 1546 circa: Villa Contarini, Piazzola sul Brenta, Province of Padua (attributed)
• 1547: Villa Arnaldi (for Vincenzo Arnaldi), Meledo di Sarego, Province of Vicenza (unfinished)
• 1548: Villa Angarano, Bassano del Grappa, Province of Vicenza (main body of the villa rebuilt later by Baldassarre Longhena; the barchesse are part of the original)
• 1550: Villa Chiericati (for Giovanni Chiericati), Vancimuglio di Grumolo delle Abbadesse, province of Vicenza (completed in 1584 by Domenico Groppino after Palladio's death)
• 1552: Villa Cornaro (for Giorgio Cornaro), Piombino Dese, Province of Padua
• 1552 circa: Villa Pisani (for Francesco Pisani), Montagnana, Province of Padua
• 1554-1563: Villa Badoer called La Badoera (for Francesco Badoer), Fratta Polesine, Province of Rovigo
• 1554: Villa Porto (for Paolo Porto), Vivaro di Dueville, province of Vicenza (attributed)
• 1554: Villa Barbaro (for Daniele and Marcantonio Barbaro), Maser, Province of Treviso
• 1554 ?: Villa Zeno (for Marco Zeno), Donegal di Cessalto, Province of Treviso
• 1556: Villa Thiene, Cicogna di Villafranca Padovana (unfinished; only a barchessa remaining)
• 1557: Villa Repeta, Campiglia dei Berici (destroyed by a fire, then rebuilt in other shape)
• 1558: Villa Emo (for Leonardo Emo), Fanzolo di Vedelago, Province of Treviso
• 1559: Villa Foscari called La Malcontenta, Malcontenta di Mira, Province of Venice
• 1563 circa: Villa Valmarana, Lisiera di Bolzano Vicentino, Province of Vicenza
• 1565: Villa Serego (for Marcantonio Serègo), Santa Sofia di Pedemonte di San Pietro in Cariano (Province of Verona)
• 1565 circa: Villa Forni Cerato (for Girolamo Forni), Montecchio Precalcino, Province of Vicenza
• 1566: Villa Capra "La Rotonda" (for Paolo Almerico), Vicenza (completed in 1585 by Vincenzo Scamozzi after Palladio's death)
• 1567 circa: Villa Trissino, Meledo di Sarego, Province of Vicenza (only partially realized)
• 1570: Villa Porto (for Iseppo Porto, unfinished), Molina di Malo, Province of Vicenza

• 

  One of the first works by Palladio, Villa Godi

• 

  Villa La Rotonda, in I Quattro Libri dell'Architettura, 1570

• 

  Villa La Rotonda

• 

  Villa Pisani in Bagnolo of Lonigo, from I Quattro Libri dell'Architettura

• 

  Villa Barbaro

• 

  Villa Barbaro

• 

  Villa Emo

• 

  Villa Emo

Palaces[link]

• 1540 circa-1566 circa: Palazzo Pojana, Vicenza (attributed)
• 1540-1542 circa: Palazzo Civena, Vicenza
• 1542-1556 circa: Palazzo Thiene, Vicenza (probably on a project by Giulio Romano)
• 1544 circa-1552: Palazzo Porto (for Iseppo De' Porti), Vicenza
• 1546-1549: Loggias of the Palazzo della Ragione (then called Basilica Palladiana), Vicenza (completed in 1614 after Palladio's death)
• 1550-1557: Palazzo Chiericati (for Girolamo Chiericati), Vicenza (completed about 1680 after Palladio's death)
• 1555 circa: Palazzo Dalla Torre, Verona (only partially realized; partially destroyed by a bombing in 1945)
• 1556 circa: Palazzo Antonini, Udine (altered by later arrangements)
• 1559: Casa Cogollo (for Pietro Cogollo), traditionally known as Casa del Palladio ("Palladio's home"), Vicenza (attributed)
• 1560: Palazzo Schio (for Bernardo Schio), Vicenza
• 1564: Palazzo Pretorio, Cividale del Friuli (province of Udine) (project, attributed)
• 1565: Palazzo del Capitaniato, Vicenza
• 1565: Palazzo Valmarana (for Isabella Nogarola Valmarana), Vicenza
• 1569-1575: Palazzo Barbaran da Porto (for Montano Barbarano), Vicenza
• 1571: Palazzo Porto in Piazza Castello, Vicenza (unfinished; partially completed in 1615 by Vincenzo Scamozzi)
• 1572 ?: Palazzo Thiene Bonin Longare, Vicenza
• 1574-1577: Rooms in the Palazzo Ducale, Venice

• 

  Basilica Palladiana, Vicenza

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  Palazzo del Capitaniato, Vicenza

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  Palazzo Thiene Bonin Longare, Vicenza

• 

  Part of the frescoed ceiling in the great hall with the Fall of the Giants by Domenico Brusasorzi in Palazzo Porto.

Church architecture[link]

• 1531: Portal for the church of Santa Maria dei Servi, Vicenza (attributed)
• 1558: Dome for the Cathedral of Vicenza, Vicenza (destroyed in a bombing during the II World War, then rebuilt)
• 1558: Facade for the Basilica of San Pietro di Castello, Venice (completed after Palladio's death)
• 1560-1563 circa: cloister of the cipressi and refettorio of the monastery of San Giorgio Maggiore, Venice
• 1560: Convento della Carità, Venezia (only the cloister and the atrium destroyed in 1630 in a fire)
• 1563 circa: Side portal for the Cathedral of Vicenza
• 1564: Facade for the church of San Francesco della Vigna, Venice
• 1565: Church of San Giorgio Maggiore, Venice (completed between 1607 and 1611 after Palladio's death, with a different façade, by Vincenzo Scamozzi)
• 1574: Facade for Basilica di San Petronio, Bologna (project)
• 1576 circa: Cappella Valmarana (for Isabella Nogarola Valmarana) in the church of Santa Corona, Vicenza
• 1577: Church of Il Redentore, Venice
• 1578: Church of Santa Maria Nova, Vicenza (project attributed; completed in 1590 after Palladio's death)
• 1580: Church of Santa Lucia, Venice (drawings for the interior; demolished)
• 1580: Church (Tempietto Barbaro) of Villa Barbaro, Maser

Panorama of San Giorgio Maggiore viewed from the main island of Venice.

Other[link]

Teatro Olimpico

• 1556: Arco Bollani, Udine, an arch over the road leading up to the Udine Castle
• 1565: Wooden theater on the yard of the Convento della Carità, Venice (destroyed by a fire in 1570)
• 1568: Ponte Vecchio, Bassano del Grappa, Province of Vicenza (rebuilt in 1748 and after II World War)
• 1569: Bridge on Tesina, Torri di Quartesolo, Province of Vicenza (attributed)
• 1579: Porta Gemona, San Daniele del Friuli, Province of Udine
• 1580: Teatro Olimpico, Vicenza (completed after Palladio's death by his son Silla and in 1585 by Vincenzo Scamozzi for the scene)

References[link]

External links[link]

Wikimedia Commons has media related to: Andrea Palladio

• Palladio and Britain Online exhibition from the Royal Institute of British Architects (English)
• Palladio and The Veneto Online exhibition from the Royal Institute of British Architects (English)
• Palladio Centre and Museum in Vicenza, Italy (English) (Italian)
• The Center for Palladian Studies in America, Inc.
• Palladio's Italian Villas website which includes material by the owners of Villa Cornaro.
• Quincentenary of Andrea Palladio's birth - Celebration Committee Describes a major exhibition touring venues in Italy, the UK and the US.
• Official Website of the 500 Years Exhibition in Vicenza - Italy (2008) (English) (Italian)
•  "Andrea Palladio". Catholic Encyclopedia. New York: Robert Appleton Company. 1913. 
• Andrea Palladio: His Life and Legacy, at the Royal Academy, review, The Telegraph, 2 February 2009
• David Linley on the influence of Andrea Palladio
• How I Spent A Few Days in Palladio's World, The Wall Street Journal, 3 March 2009
• All He Surveyed, Paul Goldberger, The New Yorker, 30 March 2009
• Principles of Palladio's Architecture: II, Journal of the Warburg and Courtauld Institutes, 1945
• Nature and Antiquity in the Work of Andrea Palladio, Journal of the Society of Architectural Historians, September 2000