Palladio was born on 30 November 1508 inPadua and was given the nameAndrea di Pietro della Gondola (Venetian:Andrea de Piero de ła Gondoła).[5] His father, Pietro, called "della Gondola", was a miller. From an early age, Andrea Palladio was introduced to the work of building. When he was thirteen, his father arranged for him to be an apprentice stonecutter for a period of six years in the workshop of Bartolomeo Cavazza da Sossano, a noted sculptor, whose projects included the altar in theBasilica del Carmine in Padua.[6] Bartolomeo Cavazza is said to have imposed particularly hard working conditions: Palladio fled the workshop in April 1523 and went to Vicenza, but was forced to return to fulfil his contract.[7] In 1524, when his contract was finished, he moved permanently to Vicenza, where he resided for most of his life. He became an assistant to a prominent stonecutter and stonemason, Giovanni di Giacomo da Porlezza in Pedemuro San Biagio, where he joined the guild of stonemasons and bricklayers. He was employed as a stonemason to make monuments and decorative sculptures.[2]
His career was unexceptional until 1538–1539; when he had reached the age of thirty, he was employed by the humanist poet and scholarGian Giorgio Trissino to rebuild his residence, theVilla Trissino at Cricoli. Trissino was deeply engaged in the study ofancient Roman architecture, particularly the work ofVitruvius, which had become available in print in 1486.[8]
In 1540, Palladio received the formal title of architect. In 1541, he made a first trip to Rome, accompanied by Trissino, to see the classical monuments first-hand. He took another, longer trip to Rome with Trissino from the autumn of 1545 to the first months of 1546, and then another trip in 1546–1547. He also visited and studied the Roman works inTivoli,Palestrina andAlbano.[9][2]
Trissino exposed Palladio to the history and arts of Rome, which gave him inspiration for his future buildings.[10] In 1554 he would publish guides to the city's ancient monuments and churches.[11] Trissino also gave him the name by which he became known, Palladio, an allusion to theGreek goddess of wisdomPallas Athene and to a character in a play by Trissino. The wordPalladio meansWise one.[12]
His earliest work is held to be an addition toVilla Trissino at Cricoli, built before his first trip to Rome.
The earliest of his villas is generally considered to be theVilla Godi (begun 1537). This design already showed the originality of Palladio's conception. A central block is flanked by two wings; the central block is recessed and the two wings are advanced and more prominent. Inside the central block, thepiano nobile or main floor opened onto aloggia with a triple arcade, reached by a central stairway. On the reverse of the building, the rounded gallery projects outward to the garden. Palladio made numerous changes and additions over the years, adding lavish frescoes framed by classical columns in the Hall of the Muses of the Villa Godi in the 1550s.[13]
In his early works in Vicenza in the 1540s, he sometimes emulated the work of his predecessorGiulio Romano, but in doing so he added his own ideas and variations. An example was thePalazzo Thiene in Vicenza, which Romano had begun but which, after Romano's death, Palladio completed. It was his first construction of a large townhouse. He used Romano's idea for windows by stonecorbeaux, a ladder of stone blocks, but Palladio gave the heavy facade a new lightness and grace.[14]
Several other villas of this time are attributed to Palladio, including theVilla Piovene (1539) andVilla Pisani (1542). Of the Villa Pisani, only the central structure of the original plan remains. The loggia is opened by three arcades beneath afrieze, beneath apediment. The interior of the main hall has abarrel-vaulted ceiling lavishly decorated withmurals of mythological themes.[15]
One of the most important works of his early Vicenza period is theBasilica Palladiana inVicenza (1546), the palace of the city government. Palladio called it "Basilica", explaining that the functions and form of a modern city hall resembled those of an ancient Roman Basilica. He did not construct the building from the ground up, but added two-story loggias to the exterior of an older building, which had been finished in 1459. For the facade, Palladio made use of two levels of arcades with rounded arches and columns, which opened the exterior of the building to the interior courtyard. The arcades were divided by columns and small circular windows (oculi), with a variety and richness of decorative detail. The building was not completed until 1617, after Palladio's death. Its design had a notable influence on many buildings across Europe, from Portugal to Germany.[16]
Palazzo Chiericati (begun in 1550) was another urban palace, built on a city square near the port inVicenza. It was constructed after thePalazzo della Ragione, but it was very different in its plan and decoration. The two-story facade with a double loggia was divided into eleven spaces by rows ofDoric columns, while a Doriccornice separated the lower level from the more importantpiano nobile above. The original plan of Palladio had the upper level identical to the lower level, but the owners wanted more space for ceremonies, so the central section on thepiano nobile was brought forward and given windows with decorative frontons, doubling the interior space.[17]
ThePalazzo del Capitaniato, the offices of the Venetian governor of the region, is a later variation on the urban palace, built in Vicenza facing the Basilica Palladiana, and the finest of his late urban palaces. The four brick half-columns on the facade give a strong element of verticality, carefully balanced by the horizontal balustrades on thepiano nobile, and on the projecting cornice at the top. The red brick of the walls and columns and the white stone of the balustrades and bases of the columns give another contrast. The facade was later givenstucco sculptural decoration in theMannerist style, which has considerably deteriorated.[18]
The success of the Basilica Palladiana propelled Palladio into the top ranks of the architects of Northern Italy. He had travelled to Rome in 1549, hoping to become a Papal architect, but the death ofPope Paul III ended that ambition. His patron, Gian Giorgio Trissino, died in 1550, but in the same year Palladio gained a new supporter, the powerful Venetian aristocratDaniele Barbaro. Through Barbaro he became known to the major aristocratic families of Northern Italy. In addition to theBarbaros, the aristocraticCornaro,Foscari, andPisani families supported Palladio's career,[19] while he continued to construct a series of magnificent villas and palaces in Vicenza in his new classical style, including thePalazzo Chiericati in Vicenza, theVilla Pisani inMontagnana, and theVilla Cornaro inPiombino Dese.[9]
Cardinal Barbaro brought Palladio to Rome and encouraged him to publish his studies ofclassical architecture. In 1554, he published the first of a series of books,Antiquities of Rome. He continued to compile and write his architectural studies, lavishly illustrated, which were published in full form in 1570 asI quattro libri dell'architettura (The Four Books of Architecture), in Venice. These books, reprinted in different languages and circulated widely in Europe, secured his reputation as the most influential figure in the renewal of classical architecture, a reputation which only continued to grow after his death.[8][20]
The type of villa invented by Palladio at theVilla Cornaro (begun 1553), located at Piombino Dese near Padua, was a mixture ofvilla rustica (country house), designed for country living, and a suburban villa, designed for entertaining and impressing. The distinction between the two parts was clearly expressed in the architecture. The central block is nearly square, with two low wings. The rear facade facing the garden has a spacious loggia, or covered terrace, supported by independent columns, on both the ground level and above on thepiano nobile. The front facade facing the road has the same plan but with narrower loggias. The Hall of the Four Columns, the grand salon, could be entered by a grand stairway from either the front or back of the house. It has a very high ceiling, creating a large cubic space, and a roof supported by four Doric columns. Palladio placedniches in the walls of this salon, which were later filled with full-length statues of the ancestors of the owner. The more rustic functions of the house were carried on in the adjoining wings.[21]
Villa Cornaro (begun 1553) combined rustic living and an imposing space for formal entertaining
The suburban villa was a particular type of building, a house near a city designed primarily for entertaining.Villa Barbaro (begun 1557) atMaser was an imposing suburban villa, built for the brothersMarcantonio andDaniele Barbaro, who were respectively occupied with politics and religious affairs in theVeneto, or Venice region. The long facade was perfectly balanced. The interior, following the professions of the brothers, had both classical and religious motifs. The central hall, The Hall of Olympus on the ground floor, was decorated with Roman gods and goddesses, but when one mounted the stairs, the long upper floor was in the form of a cross and Christian images predominate.[22] The villa also has a series of remarkablefrescos and ceiling paintings byPaolo Veronese combining mythical themes with scenes of everyday life. Behind the villa, Palladio created a remarkablenymphaeum, or Roman fountain, with statues of the gods and goddesses of the major rivers of Italy.
The most famous suburban villa constructed by Palladio was theVilla Capra "La Rotonda", not far from Vicenza, begun in 1566 for Count Paolo Almerico, thecanon ofPope Pius IV andPope Pius V. The site is on a gentle wooded hilltop, with views of the countryside in all directions. The villa is perfectly symmetrical, with four identical facades withporticos around the domed centre. The height of the base is exactly the height of the attic, and the width of each portico is exactly half the length of the facade. The interior frescos were painted byLudovico Dorigny in 1680–1687, and were not part of Palladio's plan. The building was especially influential, particularly in England and the United States, where it inspired "Neo-Palladianist" buildings such asMereworth Castle (1724) inKent and Thomas Jefferson'sMonticello in Virginia (1772).[22]
Villa Foscari, also known as "La Malcontenta" for the name of the suburban village nearVenice where it is located, faces theBrenta Canal and for this reason, unlike his other villas, it faces south to the canal. The villa is set upon a large base, and the central portico is flanked by two stairways. The upper and lower borders of thepiano nobile are clearly indicated on the facade by darker reddish bands of stone. The same reddish border outlines the pediment over the portico and the attic, and appears on the rear facade. In another departure from traditional villas, the front doors lead directly into the main salon. The salon is let by a virtual wall of glass around the doorway of the south facade. The exterior and interior are closely integrated; the same classical elements own the facade, the columns and pediments, reappear in the interior, decorated withtrompe-l'œil murals on the walls and ceiling.
North facade ofVilla Foscari, facing the Brenta Canal
Interior decoration ofgrotesques on salon ceiling of Villa Foscari
South facade of Villa Foscari, with the large windows that illuminate the main salon
Daniele Barbaro and his younger brother Marcantonio introduced Palladio to Venice, where he developed his own style of religious architecture, distinct from and equally original as that of his villas. His first project in Venice was the cloister of the church of Santa Maria della Carità (1560–1561), followed by the refectory and then the interior of theSan Giorgio Monastery (1560–1562). His style was rather severe compared with the traditional lavishness ofVenetian Renaissance architecture. San Georgio Maggiore was later given a new facade byVincenzo Scamozzi (1610), which integrated it more closely into the Venetian skyline. The original rigorous, perfectly balanced interior is the original work of Palladio.[23]
In 1570, he was formally named "Proto della Serenissima" (chief architect of the Republic of Venice), followingJacopo Sansovino.[24]
TheTempieto Barbaro, built at the end of his life, was one of his most accomplished works. It was begun in 1580 as an addition to theVilla Barbaro at Maser. It unites two classical forms, a circle and aGreek cross. The facade features a particularly imposing classical portico, like that of thePantheon in Rome, placed before two tallbell towers, before an even highercupola, which covers the church itself. The effect is to draw the eye upward, level by level. Inside, the circular interior is surrounded by eight half-columns and niches with statues. An open balustrade runs around the top of the interior wall, concealing the base of the dome itself, making it appear that thedome is suspended in the air. This idea would be adopted frequently in laterBaroque churches. He achieves a perfect balance between the circle and the cross, and the horizontal and vertical elements, both on the facade and in the interior.[25]
Plan by Ottavio Bertotti Scamozzi
Facade of the Tempietto Barbaro
Section of the Tempietto Barbaro, drawn by Scamozzi (1783)
The final work of Palladio was theTeatro Olimpico in the Piazza Matteotti inVicenza, built for the theatrical productions of the Olympic Society of Vicenza, of which Palladio was a member. He was asked to produce a design and model, and construction began in February 1580. The back wall of the stage was in the form of an enormous triumphal arch divided into three levels, and three portals through which actors could appear and disappear. This wall was lavishly decorated with columns and niches filled with statuary. The view through the arches gave the illusion of looking down classical streets. The painted ceiling was designed to give the illusion of sitting under an open sky. Behind the hemicycle of seats, Palladio placed a row of Corinthian columns.
Palladio died on 19 August 1580, not long after the work was begun. It was completed, with a number of modifications, byVincenzo Scamozzi and inaugurated in 1584 with a performance of the tragedyOedipus Rex bySophocles.
Stage with scenery designed byVincenzo Scamozzi, who completed the theatre after the death of Palladio
Stage and seating of his last work, theTeatro Olimpico (1584)
Very little is known of Palladio's personal life. Documents show that he received a dowry in April 1534 from the family of his wife, Allegradonna, the daughter of a carpenter. They had four sons: Leonida, Marcantonio, Orazio and Silla, and a daughter, Zenobia. Two of the sons, Leonida and Orazio, died during a short period in 1572, greatly affecting their father. He died on 19 August 1580 at either Vicenza or Maser, and was buried in thechurch of Santa Corona in Vicenza. In 1844, a new tomb was built in a chapel dedicated to him in that cemetery.[20]
Although all of Palladio's buildings are found in a relatively small corner of Italy, they had an influence far beyond. They particularly inspired neoclassical architects in Britain and in the United States in the 18th and 19th centuries.[26] While he designed churches and urban palaces, his plans for villas and country houses were particularly admired and copied.[27]
His books with their detailed illustrations and plans were especially influential. His first book,L'Antichida di Roma (Antiquities of Rome) was published in 1554. He then made architectural drawings to illustrate a book by his patron,Daniele Barbaro, a commentary onVitruvius.[28] His most famous work wasI quattro libri dell'architettura (The Four Books of Architecture), published in 1570, which set out rules others could follow. The first book includes studies of decorative styles, classical orders, and materials. He illustrated a rich variety of columns, arcades, pediments, pilasters and other details which were soon adapted and copied. The second book included Palladio's town and country house designs and classical reconstructions. The third book had bridge and basilica designs, city planning designs, and classical halls. The fourth book included information on the reconstruction of ancient Roman temples. The books were translated into many languages, and went through many editions, well into the eighteenth and nineteenth centuries.[29]
Palladio's style inspired several works byClaude Nicolas Ledoux in France, including theRoyal Saltworks at Arc-et-Senans, begun in 1775. In Germany,Johann von Goethe in hisItalian Journey described Palladio as a genius, declaring that his unfinished Convent of Santa Maria della Carità was the most perfect existing work of architecture. The German architectsDavid Gilly and his sonFriedrich Gilly were also admirers of Palladio, and constructed palaces for the King of PrussiaFrederick-William III in the style, including theParetz Palace. Friedrich Gilly's work, the National Theatre in Berlin (1798), built forFrederick the Great was in the style. Most of the buildings were destroyed duringWorld War II.
Palladio's work was especially popular in England, where the villa style was adapted for country houses. The first English architect to adapt Palladio's work wasInigo Jones, who made a long trip to Vicenza and returned full of Palladian ideas. His first major work in the style was theQueen's House atGreenwich (1616–1635), modelled after Palladio's villas.[30]
Wilton House is another adaptation of Palladio's villa plans. It had a particularly famous feature, the Palladio Bridge, designed around 1736. The bridge was extremely popular, and copies were made for other houses, includingStowe House. Another variation, theMarble Bridge, was made for EmpressCatherine the Great of Russia for her gardens atTsarskoe Selo nearSaint Petersburg, Russia.
The influence of Palladio also reached the United States, where the architecture and symbols of theRoman Republic were adapted for the architecture and institutions of the newly independent nation. The Massachusetts governor and architectThomas Dawes also admired the style and used it when rebuildingHarvard Hall atHarvard University in 1766. Palladio's villas inspiredMonticello, the residence of the third U.S. President,Thomas Jefferson, himself an architect. Jefferson organized a competition for the firstUnited States Capitol building. It was won byWilliam Thornton with a design inspired in part by Palladio andLa Rotonda. The One Hundred EleventhCongress of the United States of America called him the "Father of American Architecture" (Congressional Resolution no. 259 of 6 December 2010).[31] His influence can also be seen inAmerican plantation buildings.[32]
More than 330 of Palladio's original drawings and sketches still survive in the collections of theRoyal Institute of British Architects,[33] most of which originally were owned by Inigo Jones. Jones collected a significant number of these on his Grand Tour of 1613–1614, while some were a gift fromHenry Wotton.[34] An exhibition of some of the Royal Institute’s holdings was held in 2010 at theMorgan Library & Museum titled “Palladio and His Legacy: A Transatlantic Journey”.[35]
The Center for Palladian Studies in America, Inc., a nonprofit membership organization, was founded in 1979 to research and promote understanding of Palladio's influence in the architecture of the United States.
Palladio is known as one of the most influential architects in Western architecture. His architectural works have "been valued for centuries as the quintessence ofHigh Renaissance calm and harmony".[36]
The basic elements ofItalian Renaissance architecture, including Doric columns,lintels,cornices,loggias,pediments anddomes had already been used in the 15th century or earlier, before Palladio. They had been skillfully brought together byBrunelleschi in thePazzi Chapel (1420) and theMedici-Riccardi Palace (1444–1449). At the beginning of the High Renaissance in the early 16th century,Bramante used these elements together in theTempietto in Rome (1502), which combined a dome and a central plan based on aGreek Cross. The architectBaldassare Peruzzi had introduced the first Renaissance suburban villas, based on a Roman model and surrounded by gardens. TheFarnese Palace in Rome (1530–1580) bySangallo introduced a new kind of Renaissance palace, with monumental blocks, ornate cornices, lateral wings and multiple stairways.Michelangelo had made a plan for a central dome atSaint Peter's Basilica and added a new loggia to the facade of the Farnese Palace. All of these plans already existed before Palladio; his contribution was to refine, simplify, and use them in innovative ways.[37]
The style of Palladio employed a classical repertoire of elements in new ways. He clearly expressed the function of each part of the building by its form, particularly elevating and giving precedence to thepiano nobile, the ceremonial floor, of his villas and palaces. As much as possible he simplified the forms, as he did at Villa Capra "La Rotonda", surrounding a circular dome and interior with perfectly square facades, and placing the building pedestal to be more visible and more dramatic.[38]
Palladio was inspired by classical Roman architecture, but he did not slavishly imitate it. He chose elements and assembled them in innovative ways appropriate to the site and function of the building. His buildings were often placed on pedestals, raising them and making them more visible, and so they could offer a view. The villas very often had loggias, covered arcades or walkways on the outside of upper levels, which gave a view of the scenery or city below, and also gave variety to the facade. When he designed his rustic villas and suburban villas, he paid particular attention to the site, integrating them as much as possible into nature, either by sites on hilltops or looking out at gardens or rivers.[38]
The Serlian window, orVenetian window, also known as a Palladian window, was another common feature of his style, which he used both for windows and the arches of the loggias of his buildings. It consists of an arched window flanked by two smaller square windows, divided by two columns orpilasters and often topped by a smallentablature and by a small circular window or hole, called anoculus. These particular features originally appeared in the triumphal arches of Rome, and had been used in the earlier Renaissance byBramante, but Palladio used them in novel ways, particularly in the facade of theBasilica Palladiana and in theVilla Pojana.[39] They also became a common feature of later Palladian buildings in England and elsewhere.[40]
In his later work, particularly thePalazzo Valmarana and thePalazzo del Capitaniato in Vicenza, his style became more ornate and more decorative, with more sculptural decoration on the facade, tending towardMannerism. His buildings in this period were examples of the transition beginning to what would becomeBaroque architecture.[38]
Clarity and harmony.Villa Badoer (1556–1563), an early use by Palladio of the elements of a Roman temple
Palladio's architecture was not dependent on expensive materials, which must have been an advantage to his more financially pressed clients. Many of his buildings are of brick covered withstucco. Stuccoed brickwork was always used in his villa designs in order to give the appearance of a classical Roman structure.
His success as an architect is based not only on the beauty of his work, but also on its harmony with the culture of his time. His success and influence came from the integration of extraordinary aesthetic quality with expressive characteristics that resonated with his clients' social aspirations. His buildings served to communicate, visually, their place in the social order of their culture. This powerful integration of beauty and the physical representation of social meanings is apparent in three major building types: the urban palazzo, the agricultural villa, and the church.
Relative to his trips to Rome, Palladio developed three main palace types by 1556. In 1550, thePalazzo Chiericati was completed. The proportions for the building were based on musical ratios for adjacent rooms. The building was centralized by a tripartite division of a series of columns orcolonnades. In 1552, thePalazzo Porto located in Vicenza was rebuilt incorporating the Roman Renaissance element for façades. A colonnade ofCorinthian columns surrounded a main court. ThePalazzo Antonini in Udine, constructed in 1556, had a centralized hall with four columns and service spaces placed relatively toward one side. He used styles of incorporating the six columns, supported by pediments, into the walls as part of the façade. This technique had been applied in his villa designs as well. Palladio experimented with the plan of the Palazzo Porto by incorporating it into thePalazzo Thiene. It was an earlier project from 1545 to 1550 and remained uncompleted due to elaborate elevations in his designs. He used Mannerist elements such as stucco surface reliefs andlarge columns, often extending two stories high.
In his urban structures, he developed a new improved version of the typical early Renaissance palazzo (exemplified by thePalazzo Strozzi). Adapting a new urban palazzo type created byBramante in theHouse of Raphael, Palladio found a powerful expression of the importance of the owner and his social position. The main living quarters of the owner on the second level were clearly distinguished in importance by the use of a pedimented classicalportico, centred and raised above the subsidiary and utilitarian ground level (illustrated in the Palazzo Porto and thePalazzo Valmarana). The tallness of the portico was achieved by incorporating the owner's sleeping quarters on the third level, within agiant two-story classical colonnade, a motif adapted fromMichelangelo'sCapitoline buildings in Rome. The elevated main floor level became known as thepiano nobile, and is still referred to as the "first floor" in Europe.
Palladio also established an influential new building format for the agricultural villas of the Venetian aristocracy. Palladio's approach to his villa designs was not relative to his experience in Rome. His designs were based on practicality and employed few reliefs. He consolidated the various stand-alone farm outbuildings into a single impressive structure, arranged as a highly organized whole, dominated by a strong centre and symmetrical side wings, as illustrated atVilla Barbaro. In the project of the Villa Barbaro, Palladio most likely was also engaged in the interior decoration. Alongside the painterPaolo Veronese, he invented the complex and sophisticatedillusionistic landscape paintings that cover the walls of various rooms.[41]
TheVilla Capra "La Rotonda" of 1552, outside Vicenza, was constructed as a summer house with views from all four sides. The plan has centralized circular halls with wings and porticos expanding on all four sides. Palladio began to implement the classical temple front into his design of façades for villas. He felt that to make an entry appear grand, the Roman temple front would be the most suitable style. The Palladian villa configuration often consists of a centralized block raised on an elevatedpodium, accessed by grand steps, and flanked by lower service wings, as atVilla Foscari andVilla Badoer. This format, with the quarters of the owners at the elevated centre of their own world, found resonance as a prototype for Italian villas and later for the country estates of the British nobility (such asLord Burlington'sChiswick House, Vanbrugh'sBlenheim, Walpole'sHoughton Hall, and Adam'sKedleston Hall andPaxton House in Scotland). His villas were used by a capitalist gentry who developed an interest in agriculture and land. The configuration was a perfect architectural expression of their worldview, clearly expressing their perceived position in the social order of the times. His influence was extended worldwide into theBritish colonies.
Palladio developed his own prototype for the plan of the villas that was flexible to moderate in scale and function. The Palladian villa format was easily adapted for a democratic worldview, as may be seen inThomas Jefferson'sMonticello and his arrangement for theUniversity of Virginia. It also may be seen applied as recently as 1940 in Pope'sNational Gallery in Washington D.C., where the public entry to the world of high culture occupies the exalted centre position. Therustication of exposedbasement walls of Victorian residences is a late remnant of the Palladian format, clearly expressed as a podium for the main living space for the family.
Similarly, Palladio created a new configuration for the design of Catholic churches that established two interlocking architectural orders, each clearly articulated, yet delineating a hierarchy of a larger order overriding a lesser order. This idea was in direct coincidence with the rising acceptance of the theological ideas of St.Thomas Aquinas, who postulated the notion of two worlds existing simultaneously: the divine world of faith, and the earthly world of humans. Palladio created an architecture which made a visual statement communicating the idea of two superimposed systems, as illustrated atSan Francesco della Vigna. In a time when religious dominance in Western culture was threatened by the rising power of science andsecular humanists, this architecture found great favor with the Catholic Church as a clear statement of the proper relationship of the earthly and the spiritual worlds.
Aside from Palladio's designs, his publications further contributed to Palladianism. During the second half of his life, Palladio published many books on architecture, most famously,I quattro libri dell'architettura (The Four Books of Architecture, Venice, 1570).[8]
1542 (built 1542–1545):Villa Pisani, for Vettore, Marco and Daniele Pisani, Bagnolo diLonigo, Province of Vicenza
1542 ? (built before 1545–1550):Villa Thiene, for Marcantonio e Adriano Thiene,Quinto Vicentino, Province of Vicenza (probably a re-elaboration of a project byGiulio Romano)
1556 (built 1563–1567):Villa Thiene, for Francesco Thiene and sons, Cicogna diVillafranca Padovana, Province of Padua (unfinished; only abarchessa remaining)
1560 ? (built after 1563–before 1565; after 1570 ?):Villa Repeta, for Mario Repeta, Piazza Vecchia,Campiglia dei Berici, Province of Vicenza (destroyed by a fire, then rebuilt in other shape in 1672)
1562 (built 1564–1566): Villa Sarego called "La Miga", for Annibale Serego, Miega diCologna Veneta,Province of Verona (unfinished, demolished in the 1920s)
1540 (built 1540–1542):Palazzo Civena, for Giovanni Giacomo, Pier Antonio, Vincenzo and Francesco Civena, Vicenza (rebuilt in 1750 and after World War II)
1542 (built 1542–1558):Palazzo Thiene, for Marcantonio and Adriano Thiene, Vicenza (probably on a project byGiulio Romano)
1545: Palazzo Garzadori in contra' Piancoli, for Girolamo Garzadori, Vicenza (unbuilt, uncertain attribution)
1546–1549 (built 1549–1614): Loggias of the Palazzo della Ragione (then calledBasilica Palladiana), Vicenza (completed in 1614 after Palladio's death)
c. 1546 (built: 1546–1552):Palazzo Porto, for Iseppo da Porto, Vicenza
1548 (built 1548–1552): Palazzo Volpe in contra' Gazzolle, for Antonio Volpe, Vicenza (uncertain attribution)
1550 (built 1551–1557; c. 1680):Palazzo Chiericati, for Girolamo Chiericati, Vicenza (completed about 1680 after Palladio's death)
c. 1555–c. 1566:Palazzo Pojana, for Vincenzo Pojana, Vicenza (attributed)
c. 1555:Palazzo Dalla Torre, for Giambattista Dalla Torre,Verona (only partially realized; partially destroyed by a bombing in 1945)
1555 ?: Palazzo Poiana in contra' San Tomaso, for Bonifacio Pojana, Vicenza (unfinished)
1560: Monument to Giano Fregoso in the church ofSanta Anastasia of the Dominicans, for Ercole Fregoso, Verona (uncertain attribution; withDanese Cattaneo)
After 1563: Funeral monument to Luigi Visconti in the cloister of the Chapter in theBasilica of Saint Anthony,Padua (attributed)
1564 (built 1564–1565): North portal and Almerico Chapel in theVicenza Cathedral, for Paolo Almerico, Vicenza
1565 (built 1565–1576):Church of San Giorgio Maggiore, for the Congregation of Santa Giustina, Venice (completed between 1607 and 1611, after Palladio's death, with a different façade, byVincenzo Scamozzi)
^Curl, James Stevens, "A Dictionary of Architecture and Landscape Architecture",Oxford University Press
^Hart, Vaughan, Hicks, Peter,Palladio’s Rome. Translation of Andrea Palladio’sL’Antichita di Roma andDescritione de le chiese…in la città de Roma, (1554) including as an appendix Raphael’s famous Letter to Leo X, Yale University Press, London and New Haven, Connecticut 2006,ISBN0-300-10909-1.
^P. Clini "Vitruvius' Basilica at Fano: The drawings of a lost building from 'De Architectura Libri Decem'" The International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences, Vol. XXXIV, Part 5/W12 pp. 121–126 2002ISPRS.orgArchived 17 May 2012 at theWayback Machine
Ducher, Robert (1988).Caractéristique des Styles. Paris: Flammarion.ISBN2-08-011539-1.
Hart, Vaughan, Hicks, Peter (2006),Palladio’s Rome. Translation of Andrea Palladio’sL’Antichita di Roma andDescritione de le chiese…in la città de Roma, (1554) including as an appendix Raphael’s famous Letter to Leo X, Yale University Press, London and New Haven,ISBN0-300-10909-1.
Oudin, Bernard (1994).Dictionnaire des Architects (in French). Paris: Seghiers.ISBN978-2-2321-0398-8.
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