Andrea Palladio was an influential Renaissance architect who developed a classical style inspired by Roman architecture. He is known for designing villas and churches with symmetrical facades and proportions based on Roman temples. His most famous works include the Villa Barbaro, with its symmetrical wings and central block resembling a temple front, and the Basilica Palladiana in Vicenza, which features a brilliant white facade with superimposed pediments and engaged columns supporting the nave. Palladio's designs emphasized symmetry, harmony of proportions, and references to classical antiquity.

1. (30NOVEMBER,1508- 19 AUGUST 1580)

2.  Palladio, influenced by Roman
and Greek architecture, primarily
by Vitruvius, is widely considered
the most influential individual in
the history of western architecture.
 Andrea Palladio began to
develop his own architectural style
around 1541. The Palladian style,
named after him, adhered to
classical Roman principles he
rediscovered, applied, and
explained in his works.
 Palladianism became popular
briefly in Britain during the mid-
17th century, but its flowering was
cut short by the onset of the Civil
War and the imposition of austerity
which followed.

3.  The design is for a
completely symmetrical
building having a square
plan with four facades, each
of which has a
projecting portico.
 This model represents the
typical construction of the
aristocracy of the
Cinquecento
(mannerism)Renaissance:
• Greek cross plan
• The architectural style of
building in general
influenced the neoclassical
architecture
• The 4 corners correspond to
the 4 cardinal points and, as
a result, the villa is always
embraced by natural light.

4.  portico has steps leading up,
and opens via a
small cabinet or corridor to
the circular domed central
hall.
 A true temple front is
a portico (covered porch
with columns), while a
cosmetic temple front can
be produced with a
simple pediment.
 the one change that
Palladio made was to use
smooth columns instead of
fluted columns. Order are
remain to be ionic.

5.  This is the heart of the villa,
a space overlooked by a
fantastic frescoed dome,
as frescoed are the other
rooms, some of them
decorated with gorgeous
stuccos as well.
 The highlight of the interior
is the central, circular hall,
surrounded by a balcony
and covered by the
domed ceiling; it soars the
full height of the main
house up to the cupola,
with walls decoration.

6.  The ground floor plan is complex -
rectangular with perpendicular
rooms on a long axis, the central
block projects and contains the
principal reception room.
 The central block is flanked by two
symmetrical wings. The wings have
two floors but are fronted by an
open arcade.

7.  The central block, which is
designed to resemble
the portico of a Roman temple,
is decorated by
four Ionic columns ,a motif
which takes its inspiration from
the Temple of Fortuna Virilis in
Rome.
 The central block is surmounted
by a large pediment with
heraldic symbols of the Barbaro
family.
 The wings are terminated by
pavilions which feature large
sundials set beneath their
pediments.
Temple of fortuna,virills

8.  Palladio designed the
wings to provide functional
accommodation for
agricultural use. The Villa
Barbaro is unusual in
having private living
quarters on the upper level
of the "barchesse" (that is:
the rooms behind the
arcades of the two wings)
 The interior of the piano
nobile is painted
with frescoes by Paolo
Veronese in the artist's most
contemporary style of the
period.

9.  The connection of a
temple front to a
domed building refers
to the Pantheon.
 A portico that is
drawn out a long
way, and has
unusually steep
proportions, leads
along with the
diagonal parts of
the gable to two
small bell-towers,
which for their part
pass on the upward-
moving trend to
the dome.

10.  The façade is brilliantly white and
represents Palladio's solution to
the difficulty of adapting
a classical temple facade to the
form of the Christian church with
its high nave and low side aisles.
 superimposed two facades, one
with a wide pediment and
architrave(lintel or beam),
extending over the nave and
both the aisles, apparently
supported by a single order of
pilasters, and the other with a
 narrower pediment (the width of
the nave) superimposed on top of
it with a giant order of engaged
columns on high pedestals.
 a tall one consisting of four
Corinthian columns on
pedestals that support a
pediment at the end of the
nave

11.  The interior of the church
is very bright with massive
engaged columns and
pilasters on undecorated,
white-surfaced walls. The
interior combines a long
basilican nave with a
cruciform plan with
transepts.
 The church is a basilica in
the classical renaissance
style and its brilliant white
marble gleams
 Latin cross - stony and
monumental, with white
walls and thick clusters of
supporting Corinthian
columns and pilasters.