Palladian Architecture - Early Palladianism

Early Palladianism

In 1570 Palladio published his book, I Quattro Libri dell'Architettura, which inspired architects across Europe.

During the 17th century, many architects studying in Italy learned of Palladio's work. Foreign architects then returned home and adapted Palladio's style to suit various climates, topographies and personal tastes of their clients. Isolated forms of Palladianism throughout the world were brought about in this way. However, the Palladian style did not reach the zenith of its popularity until the 18th century, primarily in England, Wales, Scotland, Ireland and later North America. In Venice itself there was an early reaction to the excesses of Baroque architecture that manifested itself as a return to Palladian principles. The earliest neo-Palladians there were the exact contemporaries, both trained up as masons, Domenico Rossi (1657–1737) and Andrea Tirali (1657–1737). Tommaso Temanza, their biographer, proved to be the movement's most able and learned proponent; in his hands the visual inheritance of Palladio's example became increasingly codified in correct rules and drifted towards neoclassicism.

The most influential follower of Palladio anywhere, however, was the English Inigo Jones, who travelled throughout Italy with the 'Collector' Earl of Arundel, annotating his copy of Palladio's treatise, in 1613–14. The "Palladianism" of Jones and his contemporaries and later followers was a style largely of facades, and the mathematical formulae dictating layout were not strictly applied. A handful of great country houses in England built between 1640 and circa 1680, such as Wilton House, are in this Palladian style. These follow the great success of Jones' Palladian designs for the Queen's House at Greenwich and the Banqueting House at Whitehall, the uncompleted royal palace in London of King Charles I.

However, the Palladian designs advocated by Inigo Jones were too closely associated with the court of Charles I to survive the turmoil of the civil war. Following the Stuart restoration Jones's Palladianism was eclipsed by the baroque designs of such architects as William Talman and Sir John Vanbrugh, Nicholas Hawksmoor, and even Jones' pupil John Webb.