Andrea Palladio I

It is the purpose of this analysis to examine the life, work, and influence of Palladio. An overview of PalladioÆs theories of architecture and a discussion of his position in the Renaissance and some of his most significant buildings will be presented. Lifestyle issues impacting upon PalladioÆs advancement into the premier ranks of Renaissance architects will also be considered. It will be demonstrated that PalladioÆs work presented references to Roman antiquity and classical building construction while simultaneously ushering in the emergence of new ideas and new forms for the expression of these ideas (Gardner, 1952).

The Life of Palladio

In discussing Palladio, Michael Raeburn (1988, p. 141) stated that the architectÆs training ômore nearly approximates the modern

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e angles of a fragmentary second pediment face the side aisles. The pediment idea is repeated in a small triangle above the entrance and in the side angles at the roof level. This broken pediment motif was later incorporated into the Baroque mentality. The last building Palladio undertook was the Olympic Theater at Vicenza (Fleming, 1995). It was begun the year of his death and finished later by Scamozzi. An ingenious device to create the feeling of deep space is evident in the central arch from which actors made their entrances û a rising ramp flanked by building facades which recedes about 50 feet while creating the illusion of a long avenue leading to a distant city square. As Fleming (1995, p. 346) has commented, ôclearly inspired by ancient Roman amphitheaters, the Olympic has, in turn, been the inspiration for many later theaters, including one of LondonÆs largest, the Palladium.ö Cole and Gealt (1989) have asserted that many of these same elements are visible throughout Thomas JeffersonÆs plan for Monticello and in many buildings constructed in seventeenth and eighteenth century England. What subsequent generations of architects and builders draw from Palladio was the seriousness and dignity of early Roman archit
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