week 10

House of Giulio Romano, 1540 
-Giulio Romano, Mantua
-facade can be described as a parody of Bramante's house of raphael
-the string-course is peaked in the center to form a sort of incomplete pediment
-this in turn presses down on the keystone of the flattened arch below it, a deliberate reversal of Bromante's ideas (p. 160, murray)

Palazzo Corner della Ca'Grande, begun 1533-70
-Sansovino, Venice
-the only major building by Sansovino in Venice
-the palace is an attempt to regularize the Venetian palace type which it would do
-can be seen in later examples such as Palazzo Pesaro and Palazzo Rezzonico
-has a rusticated basement like the House of Raphael and the triple arched entrance of the Palazzo del Te
-the ground floor has small windows with mezzanines above
-the piano nobile and the floor above it are treated equally with the windows being placed between double columns
-the side windows have individual balconies while the three windows in the center have one shared balcony
-this shared balcony emphasizes the center of the building

The Mint (La Zecca), 1537-1545
-Sansovino, Venice
-3 stories was at first supposed to be 2, so there are 2 cornices
-its purpose was to hold the bullion reserves of the Republic
-Sansovino introduced the rustic order to Venice through The Mint
-it is reminiscent of the Palazzo del Te
-the facade is fortress like because of its heavy rustication and banded columns
-this is to give off the idea you can't get in, further shown by there being no centralization and no door
-the entrance to the mint is through the library
-doric orders are used showing strength


Basilica Palladiana, 1549
-Palladio, Vicenza
-it is the recasing of the old basilica in Vicenza
-his solution to supporting the old basilica was to buttress it externally by a double loggia
-to maintain a classical facade Palladio had Doric orders on the first floor and Ionic on the upper floor
-the great piers with attached columns provide the support and the spaces between these points are filled with large arches and smaller columns
-the light and shade emphasizes the architecture of the building
-the entablature breaks forward over each of the columns which emphasizes the projections
-the angles of the building seem to be solid and heavy due to the effect of the doubled columns at each end

Palazzo Porto, 1549- 1552
-Palladio, Vicenza
-derived from Bramante's House of Raphael
-shows a reconstruction of the ancient type of house with symmetrically disposed blocks on either side of a great courtyard
-the courtyard has columns all round it, which appears to be a reconstruction of the classical atrium
-the building is completely symmetrical
-the sequence of room shapes which are each proportional to the one next to it, were to become the basic principle of Palladio's villas (Murray p. 214)
-Palladio's use of classical forms, mathematical harmonies, and symmetrical disposition is very prominent in his buildings

Palazzo Chiericati begun 1550s
-Palladio, Vicenza
-the actual palace is relatively small and the open loggia take up a disproportionate amount of space
-another example of the correct use of the Doric and Ionic orders
-the portico has stairs leading to the street and above it is a triparteid composition
-there are doubling orders which express an organization which is loggia-room-loggia
-the orders show stability
-there is a solid over a void
-each order has statues and there are winged victories over the windows


 Palazzo Thiene, 1537-42
-Palladio, Vicenza
-the basic model for this type of palace can be seen in the Palazzo del Te
-has tree like rustication above the windows
-all the rooms are proportional to each other but, they now have the added interest of variety in their shape
-that there is a variety in room shapes derives from the Roman baths showing Palladio's use of classical themes in a modern domestic use
-has heavy rustication and rough keystones above the windows that is tree like

Palazzo Valmarana, 1565-66
-Palladio, Vicenza
-the end bay has a pedimented window and a statue
-whereas all the other bays of the piano nobile have rectangular windows set between the columns of giant orders
-use of a giant order with smaller pilasters on the ground floor supporting a straight entablature seem to be derived from Michelangelo palaces on the capitol
-the attic of the building is given a new prominence, it projects and the windows are larger than attic windows usually are