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119-486: Andrea Palladio ( / p ə ˈ l ɑː d i oʊ / pə- LAH -dee-oh ; Italian: [anˈdrɛːa palˈlaːdjo] ; Venetian : Andrea Paładio ; 30 November 1508 – 19 August 1580) was an Italian Renaissance architect active in the Venetian Republic . Palladio, influenced by Roman and Greek architecture , primarily Vitruvius , is widely considered to be one of the most influential individuals in

238-399: 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 or pilasters and often topped by a small entablature and by a small circular window or hole, called an oculus . These particular features originally appeared in

357-521: A Papal architect, but the death of Pope 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 aristocrat Daniele Barbaro . Through Barbaro he became known to the major aristocratic families of Northern Italy. In addition to the Barbaros , the aristocratic Cornaro , Foscari , and Pisani families supported Palladio's career, while he continued to construct

476-491: 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 the British 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

595-643: A centralized block raised on an elevated podium , accessed by grand steps, and flanked by lower service wings, as at Villa Foscari and Villa 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 as Lord Burlington 's Chiswick House , Vanbrugh's Blenheim , Walpole's Houghton Hall , and Adam's Kedleston Hall and Paxton House in Scotland). His villas were used by

714-448: A circular dome and interior with perfectly square facades, and placing the building pedestal to be more visible and more dramatic. 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

833-645: A compensation for the fact that the 2nd- and 3rd-person inflections for most verbs, which are still distinct in Italian and many other Romance languages, are identical in Venetian. The Piedmontese language also has clitic subject pronouns, but the rules are somewhat different. The function of clitics is particularly visible in long sentences, which do not always have clear intonational breaks to easily tell apart vocative and imperative in sharp commands from exclamations with "shouted indicative". For instance, in Venetian

952-591: A competition for the first United States Capitol building. It was won by William Thornton with a design inspired in part by Palladio and La Rotonda . The One Hundred Eleventh Congress of the United States of America called him the "Father of American Architecture" (Congressional Resolution no. 259 of 6 December 2010). His influence can also be seen in American plantation buildings . More than 330 of Palladio's original drawings and sketches still survive in

1071-417: A double loggia was divided into eleven spaces by rows of Doric columns , while a Doric cornice separated the lower level from the more important piano 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 the piano nobile was brought forward and given windows with decorative frontons, doubling

1190-566: 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 in Tivoli , Palestrina and Albano . Trissino exposed Palladio to the history and arts of Rome, which gave him inspiration for his future buildings. In 1554 he would publish guides to

1309-399: 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 placed niches 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. The suburban villa was

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1428-499: A highly organized whole, dominated by a strong centre and symmetrical side wings, as illustrated at Villa Barbaro . In the project of the Villa Barbaro, Palladio most likely was also engaged in the interior decoration. Alongside the painter Paolo Veronese , he invented the complex and sophisticated illusionistic landscape paintings that cover the walls of various rooms. The Villa Capra "La Rotonda" of 1552, outside Vicenza,

1547-403: A large base, and the central portico is flanked by two stairways. The upper and lower borders of the piano 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

1666-457: 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

1785-482: A nasal, whereas Italian only uses [ ŋ ] before velar stops: e.g. [kaŋˈtaɾ] "to sing", [iŋˈvɛɾno] "winter", [ˈoŋzaɾ] "to anoint", [ɾaŋˈdʒaɾse] "to cope with". Speakers of Italian generally lack this sound and usually substitute a dental [ n ] for final Venetian [ ŋ ] , changing for example [maˈniŋ] to [maˈnin] and [maˈɾiŋ] to [maˈrin] . An accented á

1904-566: A new improved version of the typical early Renaissance palazzo (exemplified by the Palazzo Strozzi ). Adapting a new urban palazzo type created by Bramante in the House 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 classical portico , centred and raised above

2023-456: A particular type of building, a house near a city designed primarily for entertaining. Villa Barbaro (begun 1557) at Maser was an imposing suburban villa, built for the brothers Marcantonio and Daniele Barbaro , who were respectively occupied with politics and religious affairs in the Veneto , or Venice region. The long facade was perfectly balanced. The interior, following the professions of

2142-516: A particularly imposing classical portico, like that of the Pantheon in Rome, placed before two tall bell towers , before an even higher cupola , 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

2261-474: 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

2380-1189: A series of magnificent villas and palaces in Vicenza in his new classical style, including the Palazzo Chiericati in Vicenza, the Villa Pisani in Montagnana , and the Villa Cornaro in Piombino Dese . Cardinal Barbaro brought Palladio to Rome and encouraged him to publish his studies of classical 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 as I 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

2499-528: A special interrogative verbal flexion used for direct questions, which also incorporates a redundant pronoun: Reflexive tenses use the auxiliary verb avér ("to have"), as in English, the North Germanic languages , Catalan, Spanish, Romanian and Neapolitan; instead of èssar ("to be"), which would be normal in Italian. The past participle is invariable, unlike Italian: Another peculiarity of

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2618-404: A stage for civic ceremony". In Italian architecture , a loggia is also a small garden structure or house built on the roof of a residence, open on one or more sides, to enjoy cooling winds and the view. They were especially popular in the 17th century and are prominent in Rome and Bologna , Italy. The main difference between a loggia and a portico is the role within the functional layout of

2737-563: 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. Palazzo Chiericati (begun in 1550) was another urban palace, built on a city square near the port in Vicenza . It was constructed after the Palazzo della Ragione , but it was very different in its plan and decoration. The two-story facade with

2856-641: A vehicle for a common Italian culture, strongly supported by eminent Venetian humanists and poets, from Pietro Bembo (1470–1547), a crucial figure in the development of the Italian language itself, to Ugo Foscolo (1778–1827). Venetian spread to other continents as a result of mass migration from the Veneto region between 1870 and 1905, and between 1945 and 1960. Venetian migrants created large Venetian-speaking communities in Argentina , Brazil (see Talian ), and Mexico (see Chipilo Venetian dialect ), where

2975-458: 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. The Serlian window, or Venetian window , also known as

3094-427: A weakened or lenited ("evanescent") ⟨l⟩ , which in some orthographic norms is indicated with the letter ⟨ ł ⟩ or ⟨ ƚ ⟩ ; in more conservative dialects, however, ⟨l⟩ and ⟨ł⟩ are merged as ordinary [ l ] . In those dialects that have both types, the precise phonetic realization of ⟨ł⟩ depends both on its phonological environment and on

3213-405: Is a "semi-analytical" verbal flexion, with a compulsory clitic subject pronoun before the verb in many sentences, echoing the subject as an ending or a weak pronoun. Independent/emphatic pronouns (e.g. ti ), on the contrary, are optional. The clitic subject pronoun ( te, el/ła, i/łe ) is used with the 2nd and 3rd person singular, and with the 3rd person plural. This feature may have arisen as

3332-478: 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

3451-472: Is a manuscript titled Dialogo de Cecco di Ronchitti da Bruzene in perpuosito de la stella Nuova attributed to Girolamo Spinelli , perhaps with some supervision by Galileo Galilei for scientific details. Several Venetian–Italian dictionaries are available in print and online, including those by Boerio , Contarini, Nazari and Piccio . As a literary language , Venetian was overshadowed by Dante Alighieri 's Tuscan dialect (the best known writers of

3570-635: Is adjacent to a front vowel ( ⟨i e⟩ ). In dialects further inland ⟨ł⟩ may be realized as a partially vocalised ⟨l⟩ . Thus, for example, góndoła 'gondola' may sound like góndoea [ˈɡoŋdoe̯a] , góndola [ˈɡoŋdola] , or góndoa [ˈɡoŋdoa] . In dialects having a null realization of intervocalic ⟨ł⟩ , although pairs of words such as scóła , "school" and scóa , "broom" are homophonous (both being pronounced [ˈskoa] ), they are still distinguished orthographically. Venetian, like Spanish, does not have

3689-630: Is also spoken in North and South America by the descendants of Italian immigrants. Notable examples of this are Argentina and Brazil , particularly the city of São Paulo and the Talian dialect spoken in the Brazilian states of Espírito Santo , São Paulo , Paraná , Rio Grande do Sul and Santa Catarina . In Mexico , the Chipilo Venetian dialect is spoken in the state of Puebla and

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3808-586: Is first attested in writing in the 13th century. The language enjoyed substantial prestige in the days of the Republic of Venice , when it attained the status of a lingua franca in the Mediterranean Sea . Notable Venetian-language authors include the playwrights Ruzante (1502–1542), Carlo Goldoni (1707–1793) and Carlo Gozzi (1720–1806). Following the old Italian theatre tradition ( commedia dell'arte ), they used Venetian in their comedies as

3927-516: 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 with trompe-l'œil murals on the walls and ceiling. 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

4046-405: Is now pronounced either as [ dz ] (Italian voiced-Z ), or more typically as [ z ] (Italian voiced-S , written ⟨x⟩ , as in el pianxe ); in a few dialects the sound appears as [ d ] and may therefore be written instead with the letter ⟨d⟩ , as in el piande . Some varieties of Venetian also distinguish an ordinary [ l ] vs.

4165-673: Is one of the Italo-Dalmatian languages and most closely related to Istriot on the one hand and Tuscan – Italian on the other. Some authors include it among the Gallo-Italic languages , and according to others, it is not related to either one. Although both Ethnologue and Glottolog group Venetian into the Gallo-Italic languages, the linguists Giacomo Devoto and Francesco Avolio and the Treccani encyclopedia reject

4284-478: Is opened by three arcades beneath a frieze , beneath a pediment . The interior of the main hall has a barrel-vaulted ceiling lavishly decorated with murals of mythological themes. One of the most important works of his early Vicenza period is the Basilica Palladiana in Vicenza (1546), the palace of the city government. Palladio called it " Basilica ", explaining that the functions and form of

4403-454: Is pronounced as [ ɐ ], (an intervocalic / u / could be pronounced as a [ w ] sound). While written Venetian looks similar to Italian, it sounds very different, with a distinct lilting cadence, almost musical. Compared to Italian, in Venetian syllabic rhythms are more evenly timed, accents are less marked, but on the other hand tonal modulation is much wider and melodic curves are more intricate. Stressed and unstressed syllables sound almost

4522-593: Is pronounced the same as Castilian Spanish cena (which has the same meaning). The voiceless interdental fricative occurs in Bellunese, north-Trevisan, and in some Central Venetian rural areas around Padua, Vicenza and the mouth of the river Po . Because the pronunciation variant [ θ ] is more typical of older speakers and speakers living outside of major cities, it has come to be socially stigmatized, and most speakers now use [ s ] or [ ts ] instead of [ θ ] . In those dialects with

4641-595: Is spoken mainly in the Italian regions of Veneto and Friuli-Venezia Giulia and in both Slovenia and Croatia ( Istria , Dalmatia and the Kvarner Gulf ). Smaller communities are found in Lombardy ( Mantua ), Trentino , Emilia-Romagna ( Rimini and Forlì ), Sardinia ( Arborea , Terralba , Fertilia ), Lazio ( Pontine Marshes ), Tuscany ( Grossetan Maremma ) and formerly in Romania ( Tulcea ). It

4760-428: 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

4879-502: Is the beginning of the project, not its completion. Venetian language Although referred to as an "Italian dialect" (Venetian: diałeto ; Italian : dialetto ) even by some of its speakers, the label is primarily geographic. Venetian is a separate language from Italian, with many local varieties. Its precise place within the Romance language family remains somewhat controversial. Both Ethnologue and Glottolog group it into

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4998-531: Is the original work of Palladio. In 1570, he was formally named "Proto della Serenissima" (chief architect of the Republic of Venice), following Jacopo Sansovino . The Tempieto Barbaro , built at the end of his life, was one of his most accomplished works. It was begun in 1580 as an addition to the Villa Barbaro at Maser. It unites two classical forms, a circle and a Greek cross . The facade features

5117-624: Is used only in Veneto dialects of Venetian language. It will suffice to know that in Venetian language the letter L in word-initial and intervocalic positions usually becomes a "palatal allomorph", and is barely pronounced. Very few Venetic words seem to have survived in present Venetian, but there may be more traces left in the morphology, such as the morpheme - esto / asto / isto for the past participle, which can be found in Venetic inscriptions from about 500 BC: A peculiarity of Venetian grammar

5236-715: The Marble Bridge , was made for Empress Catherine the Great of Russia for her gardens at Tsarskoe Selo near Saint Petersburg , Russia. Other English architects, including Elizabeth Wilbraham , and Christopher Wren also embraced the Palladian style. Another English admirer was the architect, Richard Boyle , 4th Earl of Cork , also known as Lord Burlington , who, with William Kent , designed Chiswick House . The Italian-born Giacomo Leoni also constructed Palladian houses in England. The influence of Palladio also reached

5355-488: The Villa 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, the piano nobile or main floor opened onto a loggia with a triple arcade, reached by a central stairway. On the reverse of the building, the rounded gallery projects outward to

5474-593: The geminate consonants characteristic of standard Italian, Tuscan, Neapolitan and other languages of southern Italy; thus Italian fette ("slices"), palla ("ball") and penna ("pen") correspond to féte , bała , and péna in Venetian. The masculine singular noun ending, corresponding to -o / -e in Italian, is often unpronounced in Venetian after continuants, particularly in rural varieties: Italian pieno ("full") corresponds to Venetian pien , Italian altare to Venetian altar . The extent to which final vowels are deleted varies by dialect:

5593-433: The history of architecture . While he designed churches and palaces, he was best known for country houses and villas. His teachings, summarized in the architectural treatise, The Four Books of Architecture , gained him wide recognition. The city of Vicenza , with its 23 buildings designed by Palladio, and 24 Palladian villas of the Veneto are listed by UNESCO as part of a World Heritage Site named City of Vicenza and

5712-453: The subjunctive mood is widely used in subordinate clauses . Some dialects of Venetian have certain sounds not present in Italian, such as the interdental voiceless fricative [ θ ] , often spelled with ⟨ç⟩ , ⟨z⟩ , ⟨zh⟩ , or ⟨ž⟩ , and similar to English th in thing and thought . This sound occurs, for example, in çéna ("supper", also written zhena, žena ), which

5831-493: The 14th century to some extent. Other noteworthy variants are: Like most Romance languages, Venetian has mostly abandoned the Latin case system , in favor of prepositions and a more rigid subject–verb–object sentence structure. It has thus become more analytic , if not quite as much as English. Venetian also has the Romance articles , both definite (derived from the Latin demonstrative ille ) and indefinite (derived from

5950-697: The 15th century or earlier, before Palladio. They had been skillfully brought together by Brunelleschi in the Pazzi Chapel (1420) and the Medici-Riccardi Palace (1444–1449). At the beginning of the High Renaissance in the early 16th century, Bramante used these elements together in the Tempietto in Rome (1502), which combined a dome and a central plan based on a Greek Cross . The architect Baldassare Peruzzi had introduced

6069-691: The 2010 2nd Regional ad hoc Commission of the Regione del Veneto. The Academia de ła Bona Creansa – Academy of the Venetian Language, an NGO accredited according to the UNESCO 2003 Convention for the Venetian language and culture had already worked, tested, applied and certified a full writing system (presented in a scientific publication in linguistics in 2016), known with the DECA acronym ( Drio El Costumar de l'Academia , i.e. literally According to

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6188-496: The 20th century also saw many Venetian-speakers settle in other regions of Italy, especially in the Pontine Marshes of southern Lazio where they populated new towns such as Latina , Aprilia and Pomezia , forming there the so-called " Venetian-Pontine " community ( comunità venetopontine ). Some firms have chosen to use Venetian language in advertising, as a beer did some years ago ( Xe foresto solo el nome , 'only

6307-455: The Gallo-Italic branch (and thus, closer to French and Emilian–Romagnol than to Italian ). Devoto , Avolio and Ursini reject such classification, and Tagliavini places it in the Italo-Dalmatian branch of Romance. Like all members of the Romance language family , Venetian evolved from Vulgar Latin , and is thus a sister language of Italian and other Romance languages. Venetian

6426-831: The Gallo-Italic classification. Although the language region is surrounded by Gallo-Italic languages , Venetian does not share some traits with these immediate neighbors. Some scholars stress Venetian's characteristic lack of Gallo-Italic traits ( agallicità ) or traits found further afield in Gallo-Romance languages (e.g. French, Franco-Provençal ) or the Rhaeto-Romance languages (e.g. Friulian , Romansh ). For example, Venetian did not undergo vowel rounding or nasalization, palatalize /kt/ and /ks/ , or develop rising diphthongs /ei/ and /ou/ , and it preserved final syllables, whereas, as in Italian , Venetian diphthongization occurs in historically open syllables. On

6545-654: The King of Prussia Frederick-William III in the style, including the Paretz Palace . Friedrich Gilly's work, the National Theatre in Berlin (1798), built for Frederick the Great was in the style. Most of the buildings were destroyed during World 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

6664-532: 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

6783-523: The Palladian Villas of the Veneto . The churches of Palladio are to be found within the "Venice and its Lagoon" UNESCO World Heritage Site. Palladio was born on 30 November 1508 in Padua and was given the name Andrea di Pietro della Gondola (Venetian: Andrea de Piero de ła Gondoła ). His father, Pietro, called "della Gondola", was a miller. From an early age, Andrea Palladio was introduced to

6902-684: The Renaissance, such as Petrarch , Boccaccio and Machiavelli , were Tuscan and wrote in the Tuscan language) and languages of France like the Occitano-Romance languages and the langues d'oïl including the mixed Franco-Venetian . Even before the demise of the Republic, Venetian gradually ceased to be used for administrative purposes in favor of the Tuscan-derived Italian language that had been proposed and used as

7021-575: The United States, where it inspired "Neo-Palladianist" buildings such as Mereworth Castle (1724) in Kent and Thomas Jefferson's Monticello in Virginia (1772). Villa Foscari , also known as "La Malcontenta" for the name of the suburban village near Venice where it is located, faces the Brenta Canal and for this reason, unlike his other villas, it faces south to the canal. The villa is set upon

7140-525: The United States, where the architecture and symbols of the Roman Republic were adapted for the architecture and institutions of the newly independent nation. The Massachusetts governor and architect Thomas Dawes also admired the style and used it when rebuilding Harvard Hall at Harvard University in 1766. Palladio's villas inspired Monticello , the residence of the third U.S. President, Thomas Jefferson , himself an architect. Jefferson organized

7259-737: The Use of the Academia ). The DECA writing system has been officialized by the Veneto Region under the name Grafia Veneta Internazionale Moderna , by unanimous vote of the Commissione Grafia e Toponomastica (i.e. Script and Topononymy Committee of the Venetian language on December 14, 2017, and available at portal of the Venetian Regional Council dedicated to the Venetian language . The same writing system

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7378-409: 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

7497-412: 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, by Vincenzo Scamozzi and inaugurated in 1584 with a performance of

7616-465: 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 of High Renaissance calm and harmony". The basic elements of Italian Renaissance architecture , including Doric columns, lintels , cornices , loggias , pediments and domes had already been used in

7735-430: 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. The villa also has a series of remarkable frescos and ceiling paintings by Paolo Veronese combining mythical themes with scenes of everyday life. Behind

7854-474: The building. The portico allows entrance to the inside from the exterior and can be found on vernacular and small scale buildings. Thus, it is found mainly on noble residences and public buildings. A classic use of both is that represented in the mosaics of Basilica of Sant'Apollinare Nuovo of the Royal Palace. Loggias differ from verandas in that they are more architectural and, in form, are part of

7973-758: The central–southern varieties delete vowels only after / n / , whereas the northern variety deletes vowels also after dental stops and velars; the eastern and western varieties are in between these two extremes. The velar nasal [ ŋ ] (the final sound in English "song") occurs frequently in Venetian. A word-final / n / is always velarized, which is especially obvious in the pronunciation of many local Venetian surnames that end in ⟨n⟩ , such as Mari n [maˈɾiŋ] and Mani n [maˈniŋ] , as well as in common Venetian words such as ma n ( [ˈmaŋ] "hand"), piro n ( [piˈɾoŋ] "fork"). Moreover, Venetian always uses [ ŋ ] in consonant clusters that start with

8092-430: The city and region, which is why the modern language has a similar name, while their language may have also left a few traces in modern Venetian as a substrate . The main regional varieties and subvarieties of Venetian language: All these variants are mutually intelligible, with a minimum 92% in common among the most diverging ones (Central and Western). Modern speakers reportedly can still understand Venetian texts from

8211-476: The city's ancient monuments and churches. Trissino also gave him the name by which he became known, Palladio, an allusion to the Greek goddess of wisdom Pallas Athene and to a character in a play by Trissino. The word Palladio means Wise one . His earliest work is held to be an addition to Villa Trissino at Cricoli, built before his first trip to Rome. The earliest of his villas is generally considered to be

8330-446: The clitic el marks the indicative verb and its masculine singular subject, otherwise there is an imperative preceded by a vocative. Although some grammars regard these clitics as "redundant", they actually provide specific additional information as they mark number and gender, thus providing number-/gender- agreement between the subject(s) and the verb, which does not necessarily show this information on its endings. Venetian also has

8449-531: The collections of the Royal Institute of British Architects , 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 from Henry Wotton . 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

8568-537: The corresponding words of Italian. Venetian includes however many words derived from other sources (such as ancient Venetic, Greek, Gothic, and German), and has preserved some Latin words not used to the same extent in Italian, resulting in many words that are not cognate with their equivalent words in Italian, such as: Since December 2017 the Venetian language adopted a modern writing system, named GVIM (acronym for Grafia del Veneto Internazionale Moderno , i.e. Writing system for Modern International Venetian ) thanks to

8687-447: The countryside in all directions. The villa is perfectly symmetrical, with four identical facades with porticos 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 by Ludovico Dorigny in 1680–1687, and were not part of Palladio's plan. The building was especially influential, particularly in England and

8806-440: The dialect of the speaker. In Venice and its mainland as well as in most of central Veneto (excluding the peripheral provinces of Verona, Belluno and some islands of the lagoon) the realization is a non-syllabic [e̯] (usually described as nearly like an "e" and so often spelled as ⟨e⟩ ), when ⟨ł⟩ is adjacent (only) to back vowels ( ⟨a o u⟩ ), vs. a null realization when ⟨ł⟩

8925-551: The dome itself, making it appear that the dome is suspended in the air. This idea would be adopted frequently in later Baroque 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. The final work of Palladio was the Teatro Olimpico in the Piazza Matteotti in Vicenza , built for the theatrical productions of

9044-637: The eighteenth and nineteenth centuries. Palladio's style inspired several works by Claude Nicolas Ledoux in France, including the Royal Saltworks at Arc-et-Senans , begun in 1775. In Germany, Johann von Goethe in his Italian 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 architects David Gilly and his son Friedrich Gilly were also admirers of Palladio, and constructed palaces for

9163-429: The facade, tending toward Mannerism . His buildings in this period were examples of the transition beginning to what would become Baroque architecture . 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 with stucco . Stuccoed brickwork was always used in his villa designs in order to give

9282-538: The first Renaissance suburban villas, based on a Roman model and surrounded by gardens. The Farnese Palace in Rome (1530–1580) by Sangallo 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 at Saint 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

9401-700: 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. In his early works in Vicenza in the 1540s, he sometimes emulated the work of his predecessor Giulio Romano , but in doing so he added his own ideas and variations. An example was the Palazzo Thiene in Vicenza, which Romano had begun but which, after Romano's death, Palladio completed. It

9520-420: The ground level of a building. The corridor is open to the elements because its outer wall is only partial, with the upper part usually supported by a series of columns or arches . An overhanging loggia may be supported by a baldresca . From the early Middle Ages , nearly every Italian comune had an open arched loggia in its main square, which served as a "symbol of communal justice and government and as

9639-493: The interior space. The Palazzo 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 the piano nobile , and on the projecting cornice at

9758-483: The language is still spoken today. In the 19th century large-scale immigration towards Trieste and Muggia extended the presence of the Venetian language eastward. Previously the dialect of Trieste had been a Rhaeto Romance dialect known as Tergestino . This dialect became extinct as a result of Venetian migration, which gave rise to the Triestino dialect of Venetian spoken there today. Internal migrations during

9877-683: The language is the use of the phrase eser drìo (literally, "to be behind") to indicate continuing action: Another progressive form in some Venetian dialects uses the construction èsar łà che (lit. "to be there that"): The use of progressive tenses is more pervasive than in Italian; e.g. That construction does not occur in Italian: *Non sarebbe mica stato parlandoti is not syntactically valid. Subordinate clauses have double introduction ("whom that", "when that", "which that", "how that"), as in Old English : As in other Romance languages,

9996-526: The late 19th century. The people of Chipilo preserve their dialect and call it chipileño , and it has been preserved as a variant since the 19th century. The variant of Venetian spoken by the Cipiłàn ( Chipileños ) is northern Trevisàn-Feltrìn-Belumàt. In 2009, the Brazilian city of Serafina Corrêa , in the state of Rio Grande do Sul, gave Talian a joint official status alongside Portuguese . Until

10115-693: The middle of the 20th century, Venetian was also spoken on the Greek Island of Corfu , which had long been under the rule of the Republic of Venice . Moreover, Venetian had been adopted by a large proportion of the population of Cephalonia , one of the Ionian Islands , because the island was part of the Stato da Màr for almost three centuries. Venetian is a Romance language and thus descends from Vulgar Latin . Its classification has always been controversial: According to Tagliavini, for example, it

10234-412: The most influential figure in the renewal of classical architecture, a reputation which only continued to grow after his death. The type of villa invented by Palladio at the Villa Cornaro (begun 1553), located at Piombino Dese near Padua, was a mixture of villa rustica (country house), designed for country living, and a suburban villa, designed for entertaining and impressing. The distinction between

10353-401: The name is foreign'). In other cases advertisements in Veneto are given a "Venetian flavour" by adding a Venetian word to standard Italian: for instance an airline used the verb xe ( Xe sempre più grande , "it is always bigger") into an Italian sentence (the correct Venetian being el xe senpre pì grando ) to advertise new flights from Marco Polo Airport . In 2007, Venetian

10472-452: The noun in gender and number, but it is important to mention that the suffix might be deleted because the article is the part that suggests the number. However, Italian is influencing Venetian language: In recent studies on Venetian variants in Veneto, there has been a tendency to write the so-called "evanescent L" as ⟨ł⟩ . While it may help novice speakers, Venetian was never written with this letter. In this article, this symbol

10591-535: The numeral unus ). Venetian also retained the Latin concepts of gender (masculine and feminine) and number (singular and plural). Unlike the Gallo-Iberian languages, which form plurals by adding -s , Venetian forms plurals in a manner similar to standard Italian. Nouns and adjectives can be modified by suffixes that indicate several qualities such as size, endearment, deprecation, etc. Adjectives (usually postfixed) and articles are inflected to agree with

10710-543: The other hand, Venetian does share many other traits with its surrounding Gallo-Italic languages, like interrogative clitics , mandatory unstressed subject pronouns (with some exceptions), the "to be behind to" verbal construction to express the continuous aspect ("El ze drio manjar" = He is eating, lit. he is behind to eat) and the absence of the absolute past tense as well as of geminated consonants . In addition, Venetian has some unique traits which are shared by neither Gallo-Italic, nor Italo-Dalmatian languages, such as

10829-475: The pronunciation [ s ] , the sound has fallen together with ordinary ⟨s⟩ , and so it is not uncommon to simply write ⟨s⟩ (or ⟨ss⟩ between vowels) instead of ⟨ç⟩ or ⟨zh⟩ (such as sena ). Similarly some dialects of Venetian also have a voiced interdental fricative [ ð ] , often written ⟨z⟩ (as in el pianze 'he cries'); but in most dialects this sound

10948-569: The rising power of science and secular 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). Note: The first date given

11067-492: The same; there are no long vowels, and there is no consonant lengthening. Compare the Italian sentence va laggiù con lui [val.ladˌd͡ʒuk.konˈluː.i] "go there with him" (all long/heavy syllables but final) with Venetian va là zo co lu [va.laˌzo.koˈlu] (all short/light syllables). As a direct descent of regional spoken Latin, Venetian lexicon derives its vocabulary substantially from Latin and (in more recent times) from Tuscan, so that most of its words are cognate with

11186-573: 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 the Palazzo 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 and large columns , often extending two stories high. In his urban structures, he developed

11305-452: 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, the Palazzo Chiericati was completed. The proportions for the building were based on musical ratios for adjacent rooms. The building

11424-551: The speech of the common folk. They are ranked among the foremost Italian theatrical authors of all time, and plays by Goldoni and Gozzi are still performed today all over the world. Other notable works in Venetian are the translations of the Iliad by Giacomo Casanova (1725–1798) and Francesco Boaretti, the translation of the Divine Comedy (1875) by Giuseppe Cappelli and the poems of Biagio Marin (1891–1985). Notable too

11543-470: The subsidiary and utilitarian ground level (illustrated in the Palazzo Porto and the Palazzo Valmarana ). The tallness of the portico was achieved by incorporating the owner's sleeping quarters on the third level, within a giant two-story classical colonnade, a motif adapted from Michelangelo 's Capitoline buildings in Rome. The elevated main floor level became known as the piano nobile , and

11662-405: 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 at San Francesco della Vigna . In a time when religious dominance in Western culture was threatened by

11781-481: 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 given stucco sculptural decoration in the Mannerist style, which has considerably deteriorated. 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

11900-459: The town of Chipilo . The town was settled by immigrants from the Veneto region, and some of their descendants have preserved the language to this day. People from Chipilo have gone on to make satellite colonies in Mexico, especially in the states of Guanajuato , Querétaro , and State of Mexico . Venetian has also survived in the state of Veracruz , where other Italian migrants have settled since

12019-521: The tragedy Oedipus Rex by Sophocles . 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 Orzzio, died during a short period in 1572, greatly affecting their father. He died on 19 August 1580 at either Vicenza or Maser, and

12138-548: The triumphal arches of Rome, and had been used in the earlier Renaissance by Bramante , but Palladio used them in novel ways, particularly in the facade of the Basilica Palladiana and in the Villa Pojana . They also became a common feature of later Palladian buildings in England and elsewhere. In his later work, particularly the Palazzo Valmarana and the Palazzo del Capitaniato in Vicenza, his style became more ornate and more decorative, with more sculptural decoration on

12257-487: 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 the piano 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

12376-466: The use of the impersonal passive forms and the use of the auxiliary verb "to have" for the reflexive voice (both traits shared with German ). Modern Venetian is not a close relative of the extinct Venetic language spoken in Veneto before Roman expansion, although both are Indo-European , and Venetic may have been an Italic language, like Latin , the ancestor of Venetian and most other languages of Italy . The ancient Veneti gave their name to

12495-458: The villa, Palladio created a remarkable nymphaeum , 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 the Villa Capra "La Rotonda" , not far from Vicenza, begun in 1566 for Count Paolo Almerico, the canon of Pope Pius IV and Pope Pius V . The site is on a gentle wooded hilltop, with views of

12614-525: 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 the Basilica del Carmine in Padua. Bartolomeo Cavazza is said to have imposed particularly hard working conditions: Palladio fled the workshop in April 1523 and went to Vicenza, but

12733-588: Was Inigo Jones , who made a long trip to Vicenza and returned full of Palladian ideas. His first major work in the style was the Queen's House at Greenwich (1616–1635), modelled after Palladio's villas. 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, including Stowe House . Another variation,

12852-698: Was buried in the church of Santa Corona in Vicenza. In 1844, a new tomb was built in a chapel dedicated to him in that cemetery. 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. While he designed churches and urban palaces, his plans for villas and country houses were particularly admired and copied. His books with their detailed illustrations and plans were especially influential. His first book, L'Antichida di Roma ( Antiquities of Rome )

12971-621: Was centralized by a tripartite division of a series of columns or colonnades . In 1552, the Palazzo Porto located in Vicenza was rebuilt incorporating the Roman Renaissance element for façades. A colonnade of Corinthian columns surrounded a main court. The Palazzo 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

13090-405: 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

13209-643: Was easily adapted for a democratic worldview, as may be seen in Thomas Jefferson 's Monticello and his arrangement for the University of Virginia . It also may be seen applied as recently as 1940 in Pope's National Gallery in Washington D.C., where the public entry to the world of high culture occupies the exalted centre position. The rustication of exposed basement walls of Victorian residences

13328-498: Was forced to return to fulfil his contract. 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. His career

13447-496: Was given recognition by the Regional Council of Veneto with regional law no. 8 of 13 April 2007 "Protection, enhancement and promotion of the linguistic and cultural heritage of Veneto". Though the law does not explicitly grant Venetian any official status, it provides for Venetian as object of protection and enhancement, as an essential component of the cultural, social, historical and civil identity of Veneto. Venetian

13566-532: Was his first construction of a large townhouse. He used Romano's idea for windows by stone corbeaux , a ladder of stone blocks, but Palladio gave the heavy facade a new lightness and grace. Several other villas of this time are attributed to Palladio, including the Villa Piovene (1539) and Villa Pisani (1542). Of the Villa Pisani, only the central structure of the original plan remains. The loggia

13685-403: Was published in 1554. He then made architectural drawings to illustrate a book by his patron, Daniele Barbaro , a commentary on Vitruvius . His most famous work was I 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

13804-536: Was the cloister of the church of Santa Maria della Carità (1560–1561), followed by the refectory and then the interior of the San Giorgio Monastery (1560–1562). His style was rather severe compared with the traditional lavishness of Venetian Renaissance architecture . San Georgio Maggiore was later given a new facade by Vincenzo Scamozzi (1610), which integrated it more closely into the Venetian skyline. The original rigorous, perfectly balanced interior

13923-461: Was then employed for the first grammar of the Venetian language to be published by a university, in Brasil, in 2018 Loggia In architecture , a loggia ( / ˈ l oʊ dʒ ( i ) ə / LOH -j(ee-)ə , usually UK : / ˈ l ɒ dʒ ( i ) ə / LOJ -(ee-)ə , Italian: [ˈlɔddʒa] ) is a covered exterior gallery or corridor, often on an upper level, sometimes on

14042-429: Was to refine, simplify, and use them in innovative ways. 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 the piano 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

14161-502: Was unexceptional until 1538–1539; when he had reached the age of thirty, he was employed by the humanist poet and scholar Gian Giorgio Trissino to rebuild his residence, the Villa Trissino at Cricoli. Trissino was deeply engaged in the study of ancient Roman architecture , particularly the work of Vitruvius , which had become available in print in 1486. In 1540, Palladio received the formal title of architect. In 1541, he made

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