The Perfect House: A Journey with Renaissance Master Andrea Palladio (37 page)

architecture:

aesthetic focus vs. practical considerations in,
xvi
,
xix
,
18
–19

British,
xvii
,
56
,
99
,
132
–39,
173
,
174
,
181
,
213
–16,
242

of church façades,
198
–200,
222
–23

human body vs.,
48
,
209

inside/outside continuity in,
239
,
244

modular proportions in,
188
–89

orders of,
18
,
54
–55,
80
,
262
,
264
,
265
,
266

pattern books used in,
138

polychrome façades in,
114

Renaissance careers in,
10
,
13
–14

room designs in,
xviii
,
36
,
60
,
61
,
108
–11,
126
–27,
128
–29,
188
–89,
234
–38

scale vs. size in,
245
–47

spaciousness in,
237
–38,
243
–45

start of residential design in,
xviii

structural stability and,
77
,
79

symmetry in,
47
–48,
209
–10

timelessness of,
59

U.S.,
xvii
,
35
,
56
,
99
,
132
,
139
–43,
173
,
181
–82,
216
–19,
242

architraves,
55
,
260
,
262
–63

Arch of Constantine,
154

Arundel, Thomas Howard, Earl of,
133
,
134
,
213

attics,
89
–90,
108

Bacchiglione River,
95
–96,
202

Badoer, Francesco,
175
–76,
178
,
179
,
191

Badoer, Lucietta,
176
,
179
,
191

Banquetting House (Whitehall),
135

Baptistery of Constantine,
42

Barbaro, Daniele,
19
,
147
–49,
151

architectural experience of,
149
,
151
,
164

death of,
221

governmental/church positions of,
148
,
153
,
198

intellectual interests of,
147
,
152
,
157
,
160

Palladio’s career aided by,
116
–18,
147
,
177
,
198

Palladio’s falling-out with,
221

villa design and,
149
,
151
,
152
,
162
,
163

Vitruvius translation of,
147
,
148
–49,
221

Barbaro, Francesco,
147
,
153

Barbaro, Marc’antonio,
160
,
162
,
221

architectural interests of,
149
,
151

fresco painting of household of,
163

governmental positions of,
147
,
223

Palladio’s career promoted by,
223

sculptural work of,
149
,
153
,
171

barchesse,
160
–61,
171
,
179
,
181
,
193
–95,
231
,
241
,
261

Barry, E. M.,
99

Barry, Sir Charles,
7
,
9

basements,
32
,
60
,
68
,
103
,
172
–73,
232

Basilica,
74
–84,
76
,
82
,
221
,
252

commission granted on,
75
,
77
,
84

construction process of,
116
,
176

decorative embellishments on,
80
,
83
,
264

original building reinforced as,
74
–75,
77
,
79
,
80
–81

in
Quattro libri,
76
,
220

rhythmic repetition in design of,
81
–83

serlianas
built in,
79
–80,
83
,
85
,
266

statue of Palladio erected beside,
223
,
251

Vicentine officials and,
84
,
96
,
229

Baths of Agrippa,
41

battuto,
6
,
235

Beethoven, Ludwig van,
196

Bèrici hills,
201
,
205
,
211

Berkeley, George,
139

Berlin Theater,
99

Bertotti-Scamozzi, Ottavio,
175
,
192

Blenheim Palace,
136

Blodgett, Samuel,
99

Borgia, Lucrezia,
16

Bramante, Donato,
59

architects trained by,
20
,
43

classical Roman influence on,
40

Cortile del Belvedere of,
42
,
47
,
77
,
79

death of,
42
,
115

harmony in designs of,
21

inventiveness of,
247

oculi
used by,
70

as painter,
10

serliana
revived by,
5
n,
266

Tempietto of,
205

villa façade modeled after,
54

Brenta River,
100
–101,
103
,
179

Brunelleschi, Filippo,
10
,
40
,
92
,
247

bucrania,
80
,
153
,
157
,
261

buon fresco,
24

see also
frescoes

Burlington, Richard Boyle, Lord,
136
–37,
141
,
214
–15,
216
,
223

Caldogno, Euriemma Saraceno,
229
,
236
,
238
n

Caldogno, Lucietta,
229
–30,
231

Campbell, Colen,
136
–37,
139
,
140
,
175
,
214

capitals,
55
,
260
,
261

Capitoline Hill,
84

Carnera, Anselmo,
88

castello,
16
,
35

Castle, Richard,
173
,
174

Castle Howard (Yorkshire),
136

Cavazza, Bartolomeo,
11
–12

ceilings:

coffered,
186
,
192
,
206

construction of,
89

frescoes painted on,
63
,
207

height of,
xviii
,
233
,
237
–38

vaulted,
xviii
,
63
,
266

Charles I, King of England,
134
,
135

Charles II, King of England,
136

Chiericati, Giovanni,
98
,
99
,
107

Chiericati, Girolamo,
96
,
98

Chiswick House,
214
–15,
217
,
223
,
243

Civena family,
38

Clement VII, Pope,
43

columns:

of brick,
114

defined,
262

engaged,
199

entasis (tapering) of,
177
–78,
241
,
263

fluted,
263

freestanding,
97
–98

interior,
127
–28

intervals between,
104
,
241
,
264

orders of,
55
,
80
,
262

parts of,
55
,
260
,
262

pediments without,
57

sizes of,
246
,
263

commedia dell’arte,
19

Composite order,
55
,
80
,
261
,
262
,
265

Constant, Caroline,
259

Contarini, Jacopo,
117

Contarini family,
121
,
122
n

Corinthian order,
55
,
80
,
246
,
260
,
261
,
262
,
265

Cornaro, Alvise,
21
,
59
,
121
,
147
,
221

background of,
18

both comfort and beauty advocated by,
18
–19,
23

frescoes used by,
19
,
28

garden loggia built for,
19
,
161

Cornaro, Andrea,
122

Cornaro, Caterina,
121
–22,
127
,
145

Cornaro, Giorgio,
19
,
121
–22,
127
,
128
,
130
,
142
,
143
,
147
,
157

Cornaro, Girolamo,
122
,
127

corn cultivation,
191

cornices,
55
,
260
,
263

Corrigan, Brian,
251
,
252

cortile,
32

Cortile del Belvedere,
42
,
47
,
77
,
79

curved loggias,
179
,
181
–82

cyma recta (ogee molding),
208

dados,
262

Da Monte family,
39

da Porto, Iseppo,
73
,
75
,
96

da Sangallo, Antonio,
20
,
42
,
57
,
115

da Sangallo, Giuliano,
57

Designs of Inigo Jones
(Kent),
137
,
139
,
140
,
214

Diocletian (thermal) windows,
27
,
32
,
266

Doge’s Palace,
74
,
79
,
114
,
117
,
151
,
164

domed buildings,
203
–7,
211
,
220
,
223
,
264

in Britain and U.S.,
213
–19

Doric order,
55
,
56
,
80
,
83
,
253
,
262
,
265
,
266

drawing techniques,
41
,
45
–49

Drayton, John,
140
,
142
–43

Drayton Hall (South Carolina),
132
,
140
,
142
–43,
218

Emo, Andrianna Badoer,
191

Emo, Cornalia Grimani,
191
,
192
,
196
,
198

Emo, Leonardo (the Elder),
187
,
189
,
191

Emo, Leonardo (the Younger),
187
,
189
,
191
–92

entablature,
55
,
260
,
262
–63

entasis,
177
–78,
263

Erith, Raymond,
244

Este, Ippolito d’,
148

Este, Isabella d’,
16

eustyle,
104
,
264

Falconetto, Giovanni Maria,
19
,
59

family rooms,
217

fascia,
114
,
172
,
263

Ferri de Lazara, Cornelia,
59

Fiorentino, Giallo,
169

fireplaces,
61
,
130
,
171

First Bank of the United States (Philadelphia),
99

Fletcher, Banister,
9
,
27

floor surfaces,
6
,
235
–36

Florence, Brunelleschi cathedral in,
10

fluting,
263

Foots Cray Place (Kent),
215
–16,
217

Foscari, Alvise,
104
,
108

Foscari brothers,
104
,
107
,
108
,
118
,
157

Four Books of Architecture, The
(Palladio),
see Quattro libri dell’architettura, I
(Palladio)

Franco, Battista,
106
,
107

frescoes:

architectural elements in,
19
,
25
,
28
,
106
,
169
–70,
187

on ceilings,
63
,
207

classical references vs. contemporary subjects of,
24
–26,
87
,
163
–64

clients’ heritage and interests reflected in,
163
–64,
179
,
191
–92

exterior simplicity vs.,
27
,
192

of grotesques,
87

Palladio’s endorsement of,
28
–29,
88

perceived room proportions affected by,
236
,
238

trompe l’oeil effects of,
25
,
28
,
106
,
169
–70