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Giambattista Aleotti, a native of pageant-loving Ferrara, traced the stately curves and noble orders of the galleries, designed the columns that support the raftered roof, marked out the orchestra, arranged the stage, and breathed into the whole the spirit of Palladio's most heroic neo-Latin style.
He refers to Palladio's theatre at Vicenza, which he could hardly have ever seen: for his account of this theatre, which, as we have already observed, is itself a misconception of the structure of the ancient stage, appears to be altogether founded on descriptions which clearly he did not understand.
If any thing could have dissipated Emily's uneasiness, it would have been the grandeur, gaiety, and novelty of the surrounding scene, adorned with Palladio's palaces, and busy with parties of masqueraders.
If you read about one-third of Palladio's book of architecture with some skillful person, and then, with that person, examine the best buildings by those rules, you will know the different proportions of the different orders; the several diameters of their columns; their intercolumniations, their several uses, etc.
The news of Cecilia Palladio's engagement to Guido d'Este surprised no one, and was generally received with that satisfaction which society feels when those things happen which are appropriate in themselves and have been long expected.
We are going thither immediately through Vicenza; where the works of Palladio's immortal hand appear in full perfection; and nothing sure can add to the elegancies of architecture displayed in its environs.
It would not be amiss, if you employed three or four days in learning the five orders of architecture, with their general proportions; and you may know all that you need know of them in that time. Palladio's own book of architecture is the best you can make use of for that purpose, skipping over the mechanical part of it, such as the materials, the cement, etc. Mr.
Thus architecture in its third Renaissance period passed into scholasticism. The masters of this age, chiefly through the weight of their authority as writers, exercised a wider European influence than any of their predecessors. We English, for example, have given Palladio's name to the Italian style adopted by us in the seventeenth century.
It was a small something in the arch of the brows, it was a very slight upward turn of the point of the nose, it was the small irregularity of the broader and less curving upper lip that gave to Cecilia Palladio's face the force and character that are so utterly wanting in the faces of the best Greek statues.
I am not in the least surprised that the citizens of Vicenza enthusiastically gave in to Palladio's plan, and sacrificed large sums to erect so beautiful a model. When finished, they procured, at a vast expense, the representation of a Grecian tragedy, with its chorus and majestic decorations.
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