Andrea Palladio (1508 – 1580) is the most imitated architect in history[1],
with buildings, inspired by his Classical principles, being reproduced across
the world. You don’t have to travel far to recognize ionic columns, porticos,
oversized components and columned entrances, to appreciate classical features
within many of Britain’s famous landmarks. However where is Palladio’s
inspiration sourced from? His designs, like everybody’s, did not grow
independently. A seed needs to be planted from elsewhere is order for a
solution to develop.
The first publication of an architectural theory was De Architectura (Ten books of
Architecture) by Marcus Vitruvius Pollio (c.9 – c.20BC).[2]
It is thought that his architectural theories (including the six principles he
outlined in Book 1: order, arrangement, eurhythmy, symmetry, propriety and
economy) along with his buildings discovered in ancient Rome, inspired the
Renaissance and the classical period within Architecture.
With his first Patron, the well-regarded Count Giangiogio Trissino,
Palladio made his pilgrimage to the ‘Holy City’ of Rome in 1540, to experience
the remains of Vitruvius’ ancient Rome.[3]
Many inspiring architects of this time, along with Leon Battista Alberti, went
to Rome to measure and copy the ruins that remained. Direct imitation drawings
were made to record the scale and detail of the key elements. In fact it was
only two years after Palladio’s return to his hometown of Vicenza, that he
incorporated his research into a building design. Palladio was the first to
incorporate the techniques into a residential dwelling, clearly seen in his
Villa Marcello (1542). The pediment, Corinthian columns and arcaded porch were
typical to the ruins Palladio measured earlier in Rome.
What Palladio did better than any other, was to take these principles
and elaborate on them. It is evident it is impossible to design without taking
some sort of inspiration, however those that are success do not simply replicate
the previous. They improve it. Palladio took Vitruvius’s principles and created
a building type, which went on to dominate the Classical period within Europe.
Palladio created the architectural typology of the Villa, a residential
dwelling built within a considerable amount of farmland. The innovative feature
was the villa was built from one unit, housing both the owners and the workers,
“nothing other than a small city’ –
Andrea Palladio. The distinctive building typically featured a central hall
with four adjoining rooms within each corner. Palladio used components of
disproportionate scale to “add very much
to the grandeur and magnificence of the work” including massive wall
construction, large floor to ceiling heights, columned entrances, as well as
placing the structure on a platform, all of which help to create Palladio’s
desired effect. The most imitated building within this typology was the Villa Rotunda
which was commissioned by Paolo Almerico in 1566, the building like all of
Palladio’s Villas included his distinguishable features, however the Rotunda
was designed around a central point with all four sides having very similar
appearances. This iconic repetition is a feature many classical imitation
buildings in the UK attempt to replicate.
Following his success during the middle of the 16th Century,
Palladio attempted to leave his architectural legacy in writing, along with
other influential Renaissance figures such as Alberti, Sebastiano Serlio, and
Barozzi Da Vignola. Palladio published ‘ The Four Books of Architecture’ in
1570 and is often referred to ‘ One of many treatise modeled on that of
Vitruvius’[4]
Initially Palladio had little recognition outside of mainland Europe, in
fact with regard to his publishing’s, his work was overshadowed by Vignola’s Regole Delli Clique Ordini d’Architecttura up
until the 18th Century. Therefore how did Palladio’s work become so
inspirational within the UK? The publication of his work certainly made his
theories more accessible to residents outside of Italy, likewise the design
guidelines illustrated within the books made his work more easily replicated,
rather than having to decipher information direct from the buildings. However
it is thought that the British Architect Inigo Jones (the Third Earl of Burlington)
is to be thanked for the introduction of Palladianism within England.
It is known that Jones purchased his copy of The Four Books in 1613 during a trip to Naples[5].
It is following this, that he was able to draw British Architecture away from
it’s current gothic period towards a classical style which went on to be
recognized as Palladianism. His Palladian inspired works include the Queen’s
House in Greenwich along with the Banqueting House in White Hall London. Jones
was the first to design a building in England with a classical portico. This
dominated of the entrance to St Paul’s Church, a style that Palladio used on
his villa design.
…I
Curse such lavish Cost and little Skill,
And
Swear, no Day was ever past so ill.
In
you, my Lord, taste sanctifies Expense,
For
Splendor borrows all her rays from Sense.
You
show us, Rome was glorious, not profuse,
And
pompous buildings once were things of use.
Just
as they are, yet shall your noble Rules,
Fill
half the Land with Imitating Fools[6]
Alexander Pope’s poem False Taste
indicates the ‘pandemic’ that some
may regard to be Palladianism. Palladio has certainly left his mark on British
Architecture, with buildings with an undeniable similarity being noted across
the country and the world alike. An uncanny resemblance to the Villa Rotunda is
Colin Campbell’s Mereworth Castle built in 1723; even architects involved in
the Gothic movement began to respect the Palladian influence.
‘ Mereworth is so perfect in a Palladian
taste, that I must own it has recovered me all title from Gothic ‘ – Horace
Walpole[7]
There are many buildings throughout the world that have uncanny
resemblances to ones before them. However what I aim to understand is whether
these buildings were designed, planned and constructed without being questioned
about their origin. Or perhaps architectural influence is accepted as a
necessity without being questioned as plagiarism. Hopefully by gaining a
greater understanding of the laws involved with intellectual property I may be
able to question whether replicas in architecture exist in the first instinct
or is it simply accepted as the evolution of architecture.
[1]
Ackerman, James S. Palladio. London:
Penguin Books. 1966. P 19
[2]
Mallgrave, Harry Francis. Architectural
Theory Vol 1, An Anthology from Vitruvius to 1870. Oxford: Blackwell
Publishing. 2006 p. 5
[3]
Reed, Henry Hope. Palladio’s Architecture
and its Influence. New York: Dover Publications, Inc. 1980
[4], 8 Reed, Henry Hope. Palladio’s
Architecture and its Influence. New York: Dover Publications, Inc. 1980
[6]
Pope, Alexander. Off False Taste: An
Epistle to the Right Honorable Richard Earl of Burlington. London:
L.Gilliver. 1731
[7] Reed,
Henry Hope. Palladio’s Architecture and
its Influence. New York: Dover Publications, Inc. 1980
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