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Palladianist
Publication · Vol. 1 · N. 1

Palladio in time

Fictitious pasts and imagined futures

David Hemsoll
University of Birmingham

Pages

306–329

Language

English

Licence

CC BY 4.0

 

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Abstract

Abstract

Andrea Palladio has attracted an unparalleled amount of scholarly attention and has provided, by way of his treatise the Quattro libri dell'architettura, very many architectural practitioners with a fount of inspiration, and a pivotal point of reference between past accomplishments and future endeavours. This article examines the writing on Palladio to determine the extent to which it has arrived at a full and objective understanding of his architecture, and why certain aspects of it have remained underinvestigated. It also explores how it was that the treatise came to have such an influence on the architect's 'Palladian' followers and what they would have understood from it about Palladio's architecture and its relevance to their times. It considers, finally, how in recent writing Palladio has become ever further disconnected from his own time to become conceived as a mythic figure to whom modern architects and their buildings can be regarded as being connected. Throughout is an emphasis on time: on how perceptions of Palladio and his work have changed over time, on how Palladio and his followers saw the best kind of architecture as being rooted in the past but ever relevant to the present and future, and on how Palladio's past architectural achievements are still perceived as providing a model for present and potentially future endeavours.

Keywords: Palladio, palladian theory, classicism, historiography

Hemsoll, D. (2026). Palladio in time: Fictitious pasts and imagined futures. Palladianist, 1(1), 306–329.

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FAQ

Frequently asked questions

L’articolo analizza come Andrea Palladio sia stato interpretato nel tempo: prima come architetto storico del Rinascimento, poi come modello teorico per gli architetti “palladiani”, fino a diventare una figura quasi mitica nella cultura architettonica moderna.
L’opera centrale è I quattro libri dell’architettura, pubblicata da Andrea Palladio nel 1570. Secondo l’articolo, questo trattato ha avuto un ruolo decisivo nel rendere Palladio un punto di riferimento per architetti successivi.
Hemsoll sostiene che, nonostante l’enorme quantità di studi su Palladio, la sua architettura non sia stata sempre compresa in modo completo e oggettivo. Alcuni aspetti importanti, come l’uso degli ordini architettonici e il tema delle proporzioni, sarebbero rimasti sottovalutati o interpretati in modo parziale.
No. L’articolo afferma che la carriera di Palladio attraversò diverse fasi. In una fase iniziale seguì modelli vicini ad architetti contemporanei come Bramante, Raffaello, Sansovino e Sanmicheli; poi sviluppò un linguaggio più legato a Vitruvio e all’antichità; infine arrivò a un uso più assertivo degli ordini architettonici, soprattutto nelle opere veneziane.
Tra gli edifici citati compaiono Palazzo Porto a Vicenza, Villa Cornaro a Piombino Dese, Villa Badoer a Fratta Polesine, San Francesco della Vigna, San Giorgio Maggiore a Venezia e Villa Rotonda presso Vicenza.