Andrea Palladio

“ The Olympic Academicians attended their deceased brother to the grave, and gave public testimony of their feelings by the recital of funeral odes, and by the observance of all the “pomp and circumstance” consistent with the sepulture of so eminent a man. He was interred in the church of the Dominicans at Vicenza.
Palladio was no less remarkable for modesty than for professional eminence. The affability of his conduct won for him the perfect love of all workmen engaged in his buildings. ”

“ For Palladio, indeed, he seems to have entertained a sort of veneration, and the villa which he designed at Chiswick was a reduced copy of Palladio’s Villa Capra, near Vicenza. This and other works of his show a failure to appreciate the unsuitability of Italian conceptions to the climate and tastes of Great Britain; his efforts to popularize Palladian architecture, without the resources which Palladio controlled in the way of decorative sculpture and painting, were consequently not always happy in their results. His greatest work was the design 329 for a new Palace at Whitehall, London. ”

“ PALLADIO. Palladio is distinguished among the renowned professors of his age as the chief modifier of the revived style of Roman architecture. The celebrity however which attaches to his name, though just in regard to its extent, is not always correctly appreciated: inasmuch as a bigoted admiration for his precepts and designs, on the ground of their intrinsic excellence, has too frequently supplanted that more sober estimate, which results from a consideration of the circumstances under which those precepts and examples were given to the world. ”

“ The churches del Redentore and S. Giorgio, with other edifices public and private, evince the estimation in which Palladio was held at Venice; and most of the other cities in the north of Italy also contain examples of his genius. The country around exhibits a variety of his designs, among which is the Villa di Capri, called the Rotunda, which has been imitated by the Earl of Burlington, at Chiswick, and by other architects in several parts of England. It stands upon a hill, and commands a beautiful view on every side. ”

“ There are others in the house of the noble Counts Canossi, which are amazing; and such, also, are those that he executed in the house of the Murati, near S. Nazzaro; and for Signor Giovan Battista della Torre, for Cosimo Moneta, the Veronese banker, at his beautiful villa, and for many others in various places, all works of great beauty. Palladio, most excellent of architects, declares that he knows no person more marvellous in invention or better able to adorn apartments with beautiful designs in stucco, than this Bartolommeo Ridolfi. ”

“ Andrea was no less crafty in dissimulation than he was excellent in painting, being cheerful of countenance at his pleasure, ready of speech, fiery in spirit, and as resolute in every bodily action as he was in mind; he felt towards others as he did towards Domenico, and, if he saw some error in the works of other craftsmen, he was wont to mark it secretly with his nail. And in his youth, when his works were criticized in any respect, he would give the critics to know by means of blows and insults that he was ever able and willing to take revenge in one way or another for any affront. ”

“ It is useless to seek for decorative fancy, wealth of detail, or sallies of inventive genius in the Palladian style. All is cold and calculated in the many palaces and churches of this master which adorn both Venice and Vicenza; they make us feel that creative inspiration has been superseded by the labour of the calculating reason. One great public building of Palladio's, however—the Palazzo della Ragione at Vicenza—may be cited as, perhaps, the culminating point of pure Renaissance architecture. ”

“ Andrea instantly slipped into it at Elena Muti's side. As the subtle perfume of the violets reached him, he murmured—
'These are not those of last night, are they?'
'No,' she answered coldly.
In all her varying moods, changeful and caressing as the waves of the sea, there always lay a hidden menace of rebuff. She was often taken with fits of cold restraint. Andrea held his tongue, bewildered.
'Make your bids, gentlemen,' cried the auctioneer.
The bids rose higher. Antonio del Pollajuolo's silver helmet was being hotly contested. Even the Cavaliere Davila entered the lists. ”

“ He was employed in various parts of Italy, particularly at Venice, where he built the palace Foscari. His treatise on Architecture was printed at Venice in 1570, folio; and again at London in 1715, in 3 vols. folio. In 1730, Lord Burlington published some of this architect’s designs, in one volume folio. Palladio used to relate an anecdote of an artist who dedicated the different apartments in a gentleman’s house to several moral virtues, as Chastity, Temperance, and Honesty; so that each guest might be appointed to the room sacred to his favourite virtue. ”

“ The Rotonda Capra, now in ruins, so well known as Palladio’s villa, was copied by Lord Burlington and planted squat down on the{303} banks of the Thames at Chiswick. It loses considerably by transportation; it were decidedly more effective at the base of Monte Berico in Venezia.
Palladio himself is buried in the local Campo Santo. His grave should become an art lover’s shrine, but no one has ever been known to worship at it.
Between Vicenza and Verona runs a charming highway, strewn with villas of a highly interesting if not superlatively grand architectural order. ”

“ It is impossible to conceive a structure more truly classical, or to point out a single ornament which has not the best antique authority. I am not in the least surprised that the citizens of Vicenza enthusiastically gave in to Palladio’s plan, and sacrificed large sums to erect so beautiful a model. When finished, they procured, at a vast expense, the representation of a Grecian tragedy, with its chorus and majestic decorations. You can enter into the rapture of an artist, who sees his fondest vision realized ”

“ His art was too pure and severe for a race whose taste had been formed on the fantastic mingling of Gothic and Byzantine and on the glowing decorations of the greatest school of colourists the world has known. It was from the warm and picturesque art of Sansovino and Longhena that the Italian baroque naturally developed; and though the authority of Palladio made itself felt in the official architecture of Venetia, its minor constructions, especially the villas and small private houses, seldom show any trace of his influence save in the grouping of their windows. ”

“ Most of these buildings look better on paper than in reality, as they are mainly built of brick, covered with stucco, now in a very dilapidated conilition; but this does not affect the merit of their design, as Palladio intended them to have been executed in stone. Pope Paul III. sent for him to Rome to report upon the state of St Peter's. In Venice, too, Palladio built many stately churches and palaces, such as S. Giorgio Maggiore, the Capuchin church, and some large palaces on the Grand Canal. ”

“ The balconies here are in plan half a quatrefoil. Near this house is one with carved angle-shafts, a feature which I do not remember to have seen in Venice.
Palladio’s works are supposed now to be the glory of{133} Vicenza. I cannot forgive the artist who did not care to give solidity to his work, and the power of executing a vast amount of enrichment in the cheapest way, and with the commonest materials, is about the greatest snare into which an architect can allow himself to fall. I am well aware that Palladio was not the inventor of trumpery modes of construction. ”

“ The guest of his cousin at her villa of Schifanoja, Andrea returned to life again in sight of the sea. The convalescent drew his breath in harmony with the deep, calm breath of the ocean; his mind was tranquillised by the serenity of the horizon. Little by little, in these hours of enforced idleness and retirement, his spirit expanded, bloomed out, erected itself slowly, like the grass trodden under foot on the pathway, and he returned to truth and simple faith, became natural and free of heart, open to the knowledge and disposed to the contemplation of pure things. ”

“ She sat in the shade behind Alberto, so that she might gaze her fill on Andrea, without attracting any observation.
Sometimes she opened her fan before her eyes, looking through its sticks. Now and then, when Alberto was away and Caterina bent over her sewing, Lucia’s great eyes flashed in Andrea’s face: the lids dropped immediately. All the evening Lucia maintained her air of melancholy, her tired voice and weary intonation. If for a moment she found herself alone with Andrea, she would rise, quivering with life, and cry, close to his face:
“I love you.” ”

“ It is a sad sort of story to tell of so brilliant a young man.
Andrea was born in the Gualfonda quarter of Florence, and there is some record of his ancestors for a hundred years before that, although their lives were quite unimportant. Andrea was one of four children, and as usual with Italians of artistic temperament, he was set to work under the eye of a goldsmith. This craftsmanship of a fine order was as near to art as a man could get with any certainty of making his living. ”

“ Naples shall be wiped out of it. Since it is ordained that I love you, that you love me, we will pay our debt to fate.”
“Fate, fate,” she sobbed, convulsively, wringing her hands.
“Fate,” repeated Andrea, bitterly. “We should never have loved each other. Now it is too late to draw back; you are mine.”
“Oh, Caterina! oh, Alberto!” she exclaimed, weeping.
“It is fate, Lucia.”
“My husband, my dearest friend!” Sobs rent her bosom.
“I tell you again, your heart is too big. I love you and you only: you shall only love me.”
“What torture, Andrea!” ”

“ Andrea's merit was indeed very great; his works, compared with those of Giovanni and Niccola Pisano, exhibit a progress in design, grace, composition and mechanical execution, at first sight unaccountable—a chasm yawns between them, deep and broad, over which the younger artist seems to have leapt at a bound,—the stream that sank into the earth at Pisa emerges a river at Florence. The solution of the mystery lies in the peculiar plasticity of Andrea's genius, and the ascendency acquired over it by Giotto, although a younger man, from the first moment they came into contact. ”

“ The statue of Palladio stands on a pedestal, two storeys in height, with a genius by his side in the act of crowning him. Seated on the first story of the pedestal, against the angles of the upper portion, which is less in size than the lower, are two allegorical figures, one representing Vicenza with a wreath in her left hand, and looking up with pride at [Pg 142] the artist; the other Architecture, depicting the history of the art on a scroll, by a representation of a primitive hut, and the Pantheon. ”

“ In its simple and heroical arcades, its solid columns, and noble open spaces, the strength of Rome is realised to the eyes of those who do not penetrate too far inside the building. [52] Here, and here only, the architectural problem of the epoch—how to bring the art of the ancients back to life and use again—was solved according to the spirit and the letter of the past. Palladio never equalled this, the earliest of all his many works. ”

“ The whole of the inside walls and columns are encrusted with Carrara marble inlaid with verd-antique, in a kind of damask pattern; over the pulpit it fell like drapery, so easy, so graceful, so exquisitely imitated, that I was obliged to touch it to assure myself of the material. Then by way of contrast followed the Church of San Giorgio Maggiore,—one of Palladio's masterpieces. After the dazzling and gorgeous buildings we had left, its beautiful simplicity and correct taste struck me at first with an impression of poverty and coldness. ”

“ When the unfortunate Alberto was the obstacle, with his meagre little person, his hoarse voice, and his little fits of coughing, Andrea could hardly resist the impulse which prompted him to take him round the body and throw him down; to walk over him and crush him underfoot. When Lucia saw the breath of madness pass over Andrea’s face, she rushed forward at the first sign of it, to prevent a catastrophe. ”

“ Then Andrea, what with the heat of the dining-room, its heavy atmosphere, laden with the odours of viands, preserved fruits, and the strong vinegar used in the preparation of the game, the warm rays reflected from the crystal on to the tablecloth, and Lucia’s flushed face—the lace tie showing her white throat—so near to his, Andrea was seized with a mad longing to kiss her; one kiss, only one, on the lips. Every now and then he drew nearer to her, hoping that the others would think him drunk; anything might be forgiven to a drunken man. ”

“ Could any man determine his own likeness in clearer and more vigorous outline? Was ever coined metal stamped with a prouder effigy? In his time Andrea was surnamed the new Epaminondas. Well, even in this indefatigable warrior, the intellectual character of his race comes out. He is not only learned in speech, a distinguished mathematician, a master of military architecture, a writer on the science of war, but also a good connoisseur and splendid patron of the liberal arts. Eritio Puteano, in dedicating a Latin work to him, calls him Armorum gloria, Litterarum tutela. ”