DOI Page / Citation link:
https://doi.org/10.11588/diglit.68272#0371
PALLADIO'S VILLA AT MASER AND POSSAGNO, TREVISO.
obtained the famous collection of Palladio’s drawings that was housed at Chiswick.
Certain it is that this villa will strike those who know the work of the Burlington-Kent School
as something familiar. The character of the grouping, the arcades, the rural Italian idea behind
it all seem to have deeply impressed that group of English admirers of Palladio and Inigo Jones.
Palladio’s drawings of the Roman baths, as published by Lord Burlington, appeared in
1730, soon after his lordship’s return from his tour in Italy. Another volume of general
designs was intended, but
never appeared. The
drawings are now in the
library of the Royal Insti-
tute of British Architects
by the courtesy of e |
the Dukes o f Devon-
368.—SECTION OF VILLA AT MASER, NEAR TREVISO.
shire, to whom the
Chiswick villa of Lord
Burlington descended.
Cagliari—or Paolo Veronese (1528—1588), in his best known title—is perhaps the hero of the
villa. His brilliant decorative fancies are a permanent attraction, and volumes have been written
on the subject. They certainly seem to have influenced the French School of decorative painting.
To the architect they are very interesting, because the rendering of his art in the backgrounds
of the frescoes is so evidently inspired, if not directed, by Palladio. Cagliari’s brother seems
to have been an expert at perspective and, while somewhat heavy-handed as a painter himself,
to have been of the greatest assistance to his more brilliant, if mercurial, brother. Cagliari
seems to have had the temperament of Lawrence as compared with that of Reynolds. There
is a boyish simplicity about his statements in his famous interview with the Inquisition, who
were scandalised at his levity of composition in church pictures, that disarms criticism. It
369.—THE HEMICYCLE BEHIND THE VILLA WITH VITTORIA’S STUCCOES.
obtained the famous collection of Palladio’s drawings that was housed at Chiswick.
Certain it is that this villa will strike those who know the work of the Burlington-Kent School
as something familiar. The character of the grouping, the arcades, the rural Italian idea behind
it all seem to have deeply impressed that group of English admirers of Palladio and Inigo Jones.
Palladio’s drawings of the Roman baths, as published by Lord Burlington, appeared in
1730, soon after his lordship’s return from his tour in Italy. Another volume of general
designs was intended, but
never appeared. The
drawings are now in the
library of the Royal Insti-
tute of British Architects
by the courtesy of e |
the Dukes o f Devon-
368.—SECTION OF VILLA AT MASER, NEAR TREVISO.
shire, to whom the
Chiswick villa of Lord
Burlington descended.
Cagliari—or Paolo Veronese (1528—1588), in his best known title—is perhaps the hero of the
villa. His brilliant decorative fancies are a permanent attraction, and volumes have been written
on the subject. They certainly seem to have influenced the French School of decorative painting.
To the architect they are very interesting, because the rendering of his art in the backgrounds
of the frescoes is so evidently inspired, if not directed, by Palladio. Cagliari’s brother seems
to have been an expert at perspective and, while somewhat heavy-handed as a painter himself,
to have been of the greatest assistance to his more brilliant, if mercurial, brother. Cagliari
seems to have had the temperament of Lawrence as compared with that of Reynolds. There
is a boyish simplicity about his statements in his famous interview with the Inquisition, who
were scandalised at his levity of composition in church pictures, that disarms criticism. It
369.—THE HEMICYCLE BEHIND THE VILLA WITH VITTORIA’S STUCCOES.