DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.26532#0081
INTRODUCTION. 1m
0
ces subservient to his a'rt, a profound study of the
ancient models, and a quick perception of whatever
contributes to the greatness of effedt that distinguishes
them, conspired to advance his natural aptitude for
liis prosession to excellence. Not content to measure
and design the edifices of antiquity, as a matter os
form, he traced them to their foundations, examined
their grosser materials, and the various modes of com-
bining them, as conducive to strength, or redudtive
of expense. In the superintendance of his own works
he v/as particularly attentive to the manual execution.
Is we examine his peculiar style, his greater build-
ings have an air os grandeur, that seems to be the
result os volume, proportion and ornament, dictated
by propriety. His Villas speak themselves the re-
treats of nobility, veiled but not hid, — Is analogy
between the human and material fabrics (much re-
solded to by writers on Architecture) be allowable
here, perhaps we may not unfitly say that the gene-
ral essedt os Palladio’s edifices is simiiar to that of
personal dignity well dressed. In a word, the perfec-
tion of his whole manner has occasioned him to be
called the Raphael of Architedts.*
* Os the buildings ascribed to him, not in his book, are in
Venice the Church of S. Giorgio Maggiore, the Refe&ory and
other pieces of the Monaltery—Front of that os S. Francesco della
Vigna, built by Sansovino—del Redemtore alia Zuecca de’ Cap-
pucini—delle Zitelle—di S. Lucia—some repairs of the Ducal
Palace. At Vicenza Santa Maria Nuova-—Palazzo Prefetti-
zio, his name on the east Front-—Facade of the Palazzo Tornieri
—that of the Pal. del Conte L. Schio—a House of his design sup-
jiosed for himself, but which it appears he could have occupied
only
0
ces subservient to his a'rt, a profound study of the
ancient models, and a quick perception of whatever
contributes to the greatness of effedt that distinguishes
them, conspired to advance his natural aptitude for
liis prosession to excellence. Not content to measure
and design the edifices of antiquity, as a matter os
form, he traced them to their foundations, examined
their grosser materials, and the various modes of com-
bining them, as conducive to strength, or redudtive
of expense. In the superintendance of his own works
he v/as particularly attentive to the manual execution.
Is we examine his peculiar style, his greater build-
ings have an air os grandeur, that seems to be the
result os volume, proportion and ornament, dictated
by propriety. His Villas speak themselves the re-
treats of nobility, veiled but not hid, — Is analogy
between the human and material fabrics (much re-
solded to by writers on Architecture) be allowable
here, perhaps we may not unfitly say that the gene-
ral essedt os Palladio’s edifices is simiiar to that of
personal dignity well dressed. In a word, the perfec-
tion of his whole manner has occasioned him to be
called the Raphael of Architedts.*
* Os the buildings ascribed to him, not in his book, are in
Venice the Church of S. Giorgio Maggiore, the Refe&ory and
other pieces of the Monaltery—Front of that os S. Francesco della
Vigna, built by Sansovino—del Redemtore alia Zuecca de’ Cap-
pucini—delle Zitelle—di S. Lucia—some repairs of the Ducal
Palace. At Vicenza Santa Maria Nuova-—Palazzo Prefetti-
zio, his name on the east Front-—Facade of the Palazzo Tornieri
—that of the Pal. del Conte L. Schio—a House of his design sup-
jiosed for himself, but which it appears he could have occupied
only