Venice: Appresso Dominico de' Franceschi, 1570.
1st Edition. Hardcover. Folio - over 12 - 15" tall. Very Good. Item #002604
Folio (300 x 210 mm). Title and three section-titles each within woodcut architectural border, printer's device to title-pages and above colophon, over 200 woodcut illustrations some of which full- or double-page, by Giovanni and Cristoforo Chrieger, Cristoforo Coriolano and others, after Andrea Palladio. 67 ; 66 (i.e. 78) ; 46 ; 128  pp. In part I are pp. 40-41 misnumbered 42-43; last page of part II is misnumbered 66. Signatures: A2 B-I4, AA-KK4, AAA-FFF4, AAAA-RRRR4. 4F1 missigned 4E1. Including blank 2k4 and final blank 4R4. Bound in 18th-century three-quarter calf over marbled boards, spine with 5 raised bands gilt in compartments and with gilt-lettered label (paper rubbed and chipped at board edges, spine leather dry and rubbed, label chipped, extremities rubbed, corners bumped). Little browning and brown-spotting to text, occasional minor dampstaining, small paper mould at gutter of leaves B2 to C3 affecting a few letters on C1v and image on C1r. Old repairs with paper backings to blank lower- and fore margins of several leaves, bifolium HH2-3 (pp. 59-62) in part I supplied; minute hole in C4, a few short tears, first title-leaf with outer corners rounded and chipped. Still a very good copy with ample margins. ----
FIRST COLLECTED EDITION of one of the most influential books on architecture. The work is divided into four sections, the first deals with the fundamental principles of architecture including the five orders and with building materials, the second with private dwellings (an entirely new specialty at the time), the third with urban infrastructure, and the fourth with the architecture of ancient temples.
"Palladio's lasting influence on architectural style in many parts of the world was exercised less through his actual buildings than through his textbook. Palladio's style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti. Its characteristics are those of classicism: symmetry, order, fixed mathematical relations of the parts to each other and to the whole, logic and monumentality. Though it is true that Palladio in his later period adopted some of the mannerist vernacular, his buildings remained essentially classical, in contrast to the baroque style of the period in Rome and Piedmont. Palladio followed the rules of classical Roman architecture more closely than any other architect, even sometimes at the cost of practicability and domestic comfort. In spite of the vogue for the baroque and the fact that Palladio left no immediate successors, his book exerted a powerful influence on contemporary architecture and classical ideals until the end of the eighteenth century. In England this was due in the first place to his enthusiastic follower Inigo Jones (1573-1632) who designed the Queen's House at Greenwich in the new severe, simple, classical style. He copiously annotated his copy of the Architettura and these notes were incorporated into the first English translation made by Giacomo Leoni and published in 1715-16. Lord Burlington, Kent, Campbell, Chambers, Adam and others followed. 'Palladianism' became a party label in the world of connoisseurship and England blossomed with buildings 'in the Palladian style' - two centuries after Palladio had created it. From England the style made its way into Scotland, Ireland and America. Palladio's influence began to wane only with the breakup of the structure of classical aesthetics under the impetus of the new sciences and of such writers as Burke and Hume in the eighteenth and Ruskin in the nineteenth century. The Palladian ideal could not be reconciled with romanticism and its revivals. As a practising architect Palladio worked mainly in Vicenza, Venice and the Venetian countryside, especially along the Brenta River. His Villa Capra (known as La Rotonda) near Vicenza became virtually a prototype of the Palladian style, and it was widely and faithfully copied. At the end of his life he left plans for that tour deforce of trompe I'oeil, the Teatro Olimpico in Vicenza, which was finished by his pupil Vincenzo Scamozzi. Palladio also provided illustrations for D. Barbaro's edition of Vitruvius (Venice, 1556), and he published a guide-book to the antiquities of Rome, L'Antichita di Roma, 1554, often reprinted, which was related to the earlier Mirabilia Romae which it extended and helped to replace" (PMM 92).
References: PMM 92; Adams P-101; Fowler 212; Brunet IV, 320-321; Harvard/Mortimer Italian 352.
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