Palazzo Iseppo Porto

Front facade of the Palazzo Porto, viewed from the Contrà Porti

The Palazzo Iseppo Porto is a palace in the northern Italian city ​​of Vicenza at contra Porti No. 21. It is often abbreviated as Palazzo Porto and is not to be confused with the Palazzo Barbaran da Porto in the immediate vicinity on the same street No. 11. The Italian architect Andrea Palladio designed the palace in the 1540s and probably built it until 1552. The builder was Iseppo Porto, whose family, the Porto, held an influential position within Vicenza society. As part of the Palladio Villas in Veneto , Palazzo Iseppo Porto has been a UNESCO World Heritage Site since 1994 .

Temporal context

The Palazzo Porto was built in Vicenza in the mid-16th century . During Palladio's lifetime, the city was under Venetian rule. The influence of the Republic of Venice in power is documented by a map of the city made by Braun and Hogenberg in 1588–1597, which shows a column with the lion of St. Mark, Venice's emblem of power. The city was one of the most important in northern Italy and was also extremely wealthy. It was fortified and surrounded by a city wall and a river. Within this complex was the core of Vicenza, the center of which was the Piazza dei Signori. " Politics and trade, public and private life " concentrated on it . The powerful families in Vicenza, including the Porto family, met in the piazza, namely in the Palazzo della Ragione , which Palladio transformed into a basilica from 1549.

Urban context

Location and property

The property on which the Palazzo Porto was built is located in the vicinity of the piazza. The already existing urban character of the building site, but above all the influential position of the Portos, called for a town house, a palazzo, with a representative character. Palladio writes: "[The Palazzo Iseppo Porto] goes out onto two public streets ", thereby proclaiming that the property is limited to an elongated, narrow shape between two buildings by the adjacent buildings and the street layout. Ursel Berger states, however, that the relatively insignificant stradella degli stalli, in contrast to the representative Contrà Porti, was " almost completely undeveloped ". It can therefore be assumed that the property actually had only one front side with the necessary representative facade. Nevertheless, the length of the plot is architecturally rather demanding and requires special solutions for lighting and ventilating a building. A type of palace like the one Palladio planned for his first town house, the Palazzo Civena , could therefore not be realized. The proportion of the property comes close to that of the ancient Pompeii atrium houses . These partially took up the entire depth of an insula , i.e. a block of houses, and were therefore also flanked by buildings on their long sides.

Integration into the stock

Lionello Puppi is of the opinion that the Palazzo Porto is a " link in the urban renewal " of Vicenza. Iseppo Porto wanted the facade to be " integrated into the existing street system". Guido Beltramini disagrees: “ Palladio did not attempt to adapt his design to respect the neighboring buildings ”. In fact, Palladio does not seem to have regarded the heights or the facade axes of the adjacent buildings as defining parameters in his design. Its façade jumps out of the level of the building on the left and remains far behind that of the building on the right, and the height of the eaves of the building exceeds that of its neighbors by far. The palace represents a strong “ expression of architectural individuality ”, but can nevertheless be seen as an element of the “ continuous effort of the nobility to beautify the city with symbols of their power and wealth ”. He definitely makes references, for example to the Palazzo Thiene or the basilica, which symbolize the striving for the status of the nobility.

Design and construction

The exact date of construction of the Palazzo Iseppo Porto is not known, but the occasion seems to have been the wedding of Iseppo Porto to Olivia Thiene. Lionello Puppi suspects that Marc Antonio Thiene, Olivia's brother, “ suggested ” Iseppo Porto to entrust himself to Palladio's service. Marc Antonio Thiene had entrusted Palladio with the execution of the Palazzo Thiene in 1542 and now advised Iseppo Porto to " also have a palace built according to his social position ". Due to this connection between the builders and certain similarities in the conception of the two palaces, but above all due to the description in Palladio's four books on architecture and design drawings in the possession of the Royal Institute of British Architects , the design can be assigned to Palladio with relative certainty. The design is generally classified in front of the Palazzo Chiericati, i.e. around 1549/1550. Construction was completed in 1552, as evidenced by an inscription on the building that could be seen until the 18th century and the date of the baptism of a son of Iseppo Porto in the completed building.

Structure of the facade

The facade of the palazzo is clearly divided into three areas, rustik , piano nobile and mezzanine . What is special here is the legibility of the mezzanine, which was previously concealed in favor of a clear juxtaposition of the ground floor and piano nobile. The facade is structured horizontally by seven window axes. Both the middle and the two outer facade sections are particularly marked by ornaments.

The facade of the ground floor is raised and designed with a rustique. The entrance and the window axes are defined by similar round arches made of stone blocks. The blind arches of the window axes have keystones with mask-like ornaments that protrude from the otherwise smooth rustication. The actual window openings are formed by a horizontal lintel made of wedge stones. Overall, the ground floor appears monolithic, the windows and the entrance as if cut out, the whole floor visually appears like a massive plinth of the floor above. In contrast to the relatively smooth surfaces of the rustica, the Piano Nobile is more sculptural. " The half-columns [bulge] out energetically, " they stand directly on the cornice . The Ionic capitals weigh down the entablature, the top ledge of which protrudes " sharp-edged ". The windows are delimited by parapets at the bottom and lintels with a top- mounted gable , with triangular and segmented arched gables alternating, and are therefore modeled much more playfully. The middle window axis above the entrance and the two outer axes are adorned with floral ornaments, which emphasize the end of the building and its middle axis and thus the symmetry of the facade. The pedestal-like formation of the ground floor in particular creates a strong connection between the piano nobile and the ground floor; their relationship is “ close and direct ”. By forming a mezzanine as its own attic storey takes Palladio " an old tradition, classic shape " because the mezzanine can be in Vicenza since the Quattrocento in palaces found. This allows him to harmoniously proportion the ground floor and piano nobile. The statues, which are arranged in front of the pilasters on the attic storey, “ undoubtedly belong to an iconographic program that Da Porto wanted, ” and this is how the Porto family portrays them. Overall, the attic storey is barely exposed, the cantilevered cornice and the front storage statues allow it to step back in accordance with its function as a servant floor.

Reference buildings

The references to Bramante's buildings in Rome, especially to the Palazzo Caprini - the " casa di Raffaello " - but also to two other palaces, the Palazzo Bresciano and the Palazzo Ossoli, are astonishingly clear. Palladio was probably in possession of a drawing of the today destroyed Palazzo Caprini, which is sometimes ascribed to him. When comparing the drawing of the Palazzo Caprini with the Palazzo Porto, but also the Palazzo Thiene, the similarities become evident. Bramante's influence on the design of the Palazzo Porto is particularly evident in the rustication of the ground floor, particularly in the use of blind arches and window lintels made from distinctive wedge stones. In Bramante's palace, the half-columns on the upper floor are placed on the plinth-like ground floor; this motif also shapes the character of Palazzo Porto. The structure of the windows on the upper floor with balcony parapets and triangular gables also speak for Bramante's influence on the design. Beltramini and Berger prove, however, that it is not an uninspired copy, but that Palladio's bramante solution was only chosen after a number of more playful, more opulent attempts.

Palladio's trip to Rome had expanded his repertoire and inspired him to come up with new solutions, which he used primarily in the Palazzo Thiene, which he now reverted to. He used the Ionic order for the first time at the Palazzo Porto , and playful architectural motifs such as doubled pilasters and multi-part windows were pushed back in this design, in favor of a new “ jewelry style ”. The Palazzo Porto was more a step in the direction of a new architectural language for Vicenza's nobility than a backward turn, the Roman experiences were synthesized and provided the most important, but not the only indications for a new style. This development and Palladio's turn to “ sculptural ” facades becomes clear when one compares the facades of the Palazzo Thiene, begun in 1542, but above all his Palazzo Civena from 1539/1540 with the Palazzo Porto.

The Palazzo Porto is to be regarded as the link between the Palazzo Thiene and the Palazzo Chiericati . At Palazzo Thiene, Palladio was able to process the Roman city architecture, unlike the villa buildings, in an urban context. If you follow Howard Burns in his argument, Palladio was able to make a decisive contribution to this project, but the basic disposition was Giulio Romano's design, which restricted Palladio in his creative freedom. Working with Romano, however, taught Palladio how to deal professionally with craftsmen and builders. In addition, Romano had knowledge of Roman architecture, which Palladio certainly reinforced in his orientation towards the masters of the Renaissance , Bramante, but also Fra Giocondo . Ursel Berger sees the development of the Palazzo Porto and the Palazzo Chiericati parallel. The supposedly “ more mature ” style of the latter is probably primarily a reaction to the exposed position in a square that required completely different solutions than a narrow alley. The opening of Palazzo Chiericati, its turn to street life and the permeability of its facade contrasts with the closed nature of Palazzo Porto. Many of the ideas of the Palazzo Chiericati were already being considered at the time of the Palazzo Porto and were used in the basilica. Palladio therefore thinks in alternatives and not in inflexible universal solutions.

Design principle

In contrast to Palladio's villas, which could be built in the open with a floor plan according to the architect's will, the plots in the city were clearly defined. Although the loggias of the Palazzo Chiericati take possession of public land, and the boundaries between inside and outside are also blurred in the basilica, Palladio was always aware of the urban conditioning of his designs, as the two buildings mentioned impressively prove. If the structure of the Palazzo Porto with an inner courtyard cannot be read from the outside, then this is no hiding, but Palladio's answer to the requirements of a representative facade with sensible room structure. The flat facade brings the Piano Nobile close to the street. In the narrow street situation, stepping back behind the neighboring buildings would reduce the social area of ​​the palazzo. The Sala as a political space in which business is done and relationships are established should be on the street.

Spatial planning

Executed construction

If you look at the floor plans of Palazzo Porto, as published by Palladio himself in the Quattro Libri , it becomes clear that the hierarchy of the rooms is determined by the street facade - here you can find the sala, atrium and somewhat smaller business premises, in the from the street remote area rather smaller, subordinate rooms and stairs. It can be shown, however, that the floor plans depicted in the Quattro Libri differ considerably from the actual design, perhaps most likely through a drawing from the 1540s depicting the Palazzo Porto (RIBA XVII, 9 verso) and, according to Beltramini, the implemented building, with the exception of the rear part, largely corresponds. Constant and Beltramini prove that the Piano Nobile was considerably reshaped in the 19th century and that Vincenzo Scamozzi redesigned the stairs as early as the 16th century. Nevertheless, the basic spatial hierarchy always remains the same, whether it is the design drawing from the 1540s, the Quatto Libri version or the building that exists today - it meets the requirements of the Vicentine nobility.

Representation in the Quattro Libri

Ground floor plan and section, depiction in the Quattro Libri, 1570

Obviously, the impressive peristyle court that Palladio depicts in his Quattro Libri version was never built. Berger suggests that this was also not an actually planned floor plan, as the rear stradella degli stalli did not need a prestigious facade and a more “unadorned residential wing ” should be arranged here. A duplication of the mansion, as Palladio depicts in the Quattro Libri , is therefore not so easy to justify. Nevertheless, the Quattro Libri version offers a very impressive solution full of new forms. A connection between the manor and guest house in this way creates an elegant space that both separates and connects. Palladio himself refers to the staircase, which is intended to be arranged in this peristyle, which is characterized by colossal columns, in order to further enhance the spatial experience of the promenade. While it can be doubted that the floor plan version listed in the Quattro Libri was ever seriously intended for construction, as it offered hardly any practical use in the existing plot, Berger suspects that Palladio could well have planned a peristyle courtyard and the colossal order published later perhaps originally planned as a superposition of a Doric-Ionic order. Beltramini is also not sure whether the columns subsequently drawn in chalk on verso in RIBA XVII, 9 date to the publication date of the Quattro Libri or possibly to the time of design. The peristyle in its enormous form, which is also evident in the courtyard facade in the Quatto Libri, is certainly the most original proposal of the design. Parallels to the arcaded courtyard of Palazzo Thiene are seen, with the proposed loggias of Palazzo Porto in their two-storey design and have a completely different character with a colossal order.

"House of the Old"

Many descriptions of the Palazzo Porto focus on a supposed reconstruction of the Palazzo Porto as a house of the ancients. A discussion of Palladio's design does not allow such a conclusion. Corresponding descriptions cannot be found in Vitruvius , nor in built Roman reality. This interpretation probably goes back to Palladio's sentence that he built the palazzo on the model of the “ ancients and especially the Greeks ”. The most striking common feature is the peristyle courtyard, which, according to Vitruvius, was probably a symbol of the power of aristocratic families. He may have been the godfather for the planned courtyard, but he cannot explain the duplication of the house either. It therefore remains unclear why Palladio depicts a situation in the Quatto Libri that did not exist in reality, it is neither functionally imaginable nor aesthetically justified.

Place in Palladio's oeuvre

The Palazzo Porto is considered an unspectacular work in Palladio's oeuvre. It does not stand out for its particular opulence, and there are no legends surrounding its building. It is not a manifesto of perfect symmetry, nor a geometric masterpiece. This probably explains why many attempts have been made to interpret it as the “house of the elderly” and thus to categorize and characterize it.

The cuts in the Quattro Libri certainly help to make the building interesting in retrospect reception. Its publication in the Quattro Libri made the building at least available to the general public, but here, too, the palazzo does not play a particularly prominent role. The Palazzo Porto, however, plays an important role in Palladio's career. It was the first city palace that he carried out alone, after he was probably only able to design the Palazzo Thiene based on Giulio Romano's basic idea, and the well-known and “ reliable ” Porlezza and Palladio were initially commissioned together for the basilica . The Palazzo Porto immediately enabled Palladio to build the Palazzo Chiericati and gave him a good position within Vicentine society. This probably led to a benevolent attitude on the part of the city council, which earned it the necessary support for a long-term project like the basilica. More important, however, was that his reputation with one of Vicenza's two most important families also recommended him to other aristocrats and so he received important follow-up assignments for private residences in the countryside and in the city. The Palazzo Porto thus became a catalyst for Palladio's access to the resources of reputation, money and building land. He was a pioneer of his later work and a whole new cityscape.

literature

• Ackerman, James: Palladio . Stuttgart 1980.
• Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 .
• Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. .
• Borsi, Franco: Bramante . Electa, Milan 1989, ISBN 88-435-2666-9 . .
• Braun, Georg; Hogenberg, Franz quoted. according to: Füssel, Stephan [ed.]: Cities of the World, 363 copper engravings revolutionize the worldview . Taschen, Cologne 2008, ISBN 978-3-8365-1125-4 . .
• Classen, Helge: Palladio, on the trail of a legend . Harenberg, Dortmund 1987, ISBN 3-88379-510-0 . .
• Constant, Caroline: The Palladian Guide . Vieweg, Braunschweig 1988, ISBN 3-528-08724-2 .
• Knell, Heiner: Vitruvius Architectural Theory, Darmstadt 2008.
• Müller, Werner; Vogel Gunther: Atlas for architecture . tape 1 . Deutscher Taschenbuch Verlag, Munich 1974.
• Palladio, Andrea quoted. after: Beyer, Andreas; Schütte, Ulrich: The four books on architecture . Verlag für Architektur Artemis, Zurich / Munich 1984, ISBN 3-7608-8116-5 .
• Puppi, Lionello: Andrea Palladio, The Complete Works . German publishing house, Stuttgart / Munich 2000.
• Wundram, Manfred; Pape, Thomas: Andrea Palladio, architect between Renaissance and Baroque, Cologne 1988.
• Zimmermanns, Klaus: The Veneto, Verona - Vicenza - Padua . DuMont, Cologne 1990, ISBN 3-7701-2014-0 .

Web links

Commons : Palazzo Porto (Vicenza)  - Collection of images, videos and audio files

• Palladio Museum

Individual evidence

1. ↑ http://whc.unesco.org/en/list/712
2. ^ Zimmermanns, Klaus: The Veneto, Verona - Vicenza - Padua . DuMont, Cologne 1990, ISBN 3-7701-2014-0 . , P. 121
3. ↑ Braun, Georg; Hogenberg, Franz quoted. according to: Füssel, Stephan [ed.]: Cities of the World, 363 copper engravings revolutionize the worldview . Taschen, Cologne 2008, ISBN 978-3-8365-1125-4 . , P. 326
4. ↑ Braun, Georg; Hogenberg, Franz quoted. according to: Füssel, Stephan [ed.]: Cities of the World, 363 copper engravings revolutionize the worldview . Taschen, Cologne 2008, ISBN 978-3-8365-1125-4 . , P. 326
5. ^ Zimmermanns, Klaus: The Veneto, Verona - Vicenza - Padua . DuMont, Cologne 1990, ISBN 3-7701-2014-0 . , P. 140
6. ^ Zimmermanns, Klaus: The Veneto, Verona - Vicenza - Padua . DuMont, Cologne 1990, ISBN 3-7701-2014-0 . , P. 140
7. ↑ Palladio, Andrea quoted. after: Beyer, Andreas; Schütte, Ulrich: The four books on architecture . Verlag für Architektur Artemis, Zurich / Munich 1984, ISBN 3-7608-8116-5 . , P. 121
8. ^ Zimmermanns, Klaus: The Veneto, Verona - Vicenza - Padua . DuMont, Cologne 1990, ISBN 3-7701-2014-0 . , P. 141
9. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 40
10. ↑ Palladio, Andrea quoted. after: Beyer, Andreas; Schütte, Ulrich: The four books on architecture . Verlag für Architektur Artemis, Zurich / Munich 1984, ISBN 3-7608-8116-5 . , P. 121
11. ↑ Palladio, Andrea quoted. after: Beyer, Andreas; Schütte, Ulrich: The four books on architecture . Verlag für Architektur Artemis, Zurich / Munich 1984, ISBN 3-7608-8116-5 . , P. 121
12. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 180
13. ↑ Ackerman, James: Palladio . Stuttgart 1980. , p. 86
14. ↑ Constant, Caroline: The Palladian Guide . Vieweg, Braunschweig 1988, ISBN 3-528-08724-2 . , P. 25
15. ↑ Müller, Werner; Vogel Gunther: Atlas for architecture . tape 1 . Deutscher Taschenbuch Verlag, Munich 1974. , p. 223
16. ↑ Müller, Werner; Vogel Gunther: Atlas for architecture . tape 1 . Deutscher Taschenbuch Verlag, Munich 1974. , p. 223
17. ^ Puppi, Lionello: Andrea Palladio, Das Gesamtwerk . Deutsche Verlagsanstalt, Stuttgart / Munich 2000. , p. 281
18. ^ Puppi, Lionello: Andrea Palladio, Das Gesamtwerk . Deutsche Verlagsanstalt, Stuttgart / Munich 2000. , p. 281
19. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 72
20. ↑ Constant, Caroline: The Palladian Guide . Vieweg, Braunschweig 1988, ISBN 3-528-08724-2 . , P. 46
21. ↑ Constant, Caroline: The Palladian Guide . Vieweg, Braunschweig 1988, ISBN 3-528-08724-2 . , P. 43
22. ^ Puppi, Lionello: Andrea Palladio, Das Gesamtwerk . Deutsche Verlagsanstalt, Stuttgart / Munich 2000. , p. 279
23. ^ Classen, Helge: Palladio, on the trail of a legend . Harenberg, Dortmund 1987, ISBN 3-88379-510-0 . , P. 149
24. ↑ Constant, Caroline: The Palladian Guide . Vieweg, Braunschweig 1988, ISBN 3-528-08724-2 . , P. 45
25. ^ Puppi, Lionello: Andrea Palladio, Das Gesamtwerk . Deutsche Verlagsanstalt, Stuttgart / Munich 2000. , p. 279
26. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 40: It should be noted that the original design of the Palazzo Thiene comes from Giulio Romano and not from Andrea Palladio, but he was the master builder on the construction site and as such had a decisive influence on the project actually implemented, above all after Romano's death in 1546.
27. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 40
28. ^ Puppi, Lionello: Andrea Palladio, Das Gesamtwerk . Deutsche Verlagsanstalt, Stuttgart / Munich 2000. , p. 279
29. ^ Puppi, Lionello: Andrea Palladio, Das Gesamtwerk . Deutsche Verlagsanstalt, Stuttgart / Munich 2000. , p. 277 and Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 72
30. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 72
31. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 172
32. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 175
33. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 175
34. ↑ Ackerman, James: Palladio . Stuttgart 1980.
35. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 175
36. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 175
37. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 175
38. ^ Puppi, Lionello: Andrea Palladio, Das Gesamtwerk . German publishing house, Stuttgart / Munich 2000.
39. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 74
40. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 172f
41. ^ Borsi, Franco: Bramante . Electa, Milan 1989, ISBN 88-435-2666-9 . , P. 322; Borsi reports that, according to contemporary Giorgio Vasari , the house was not built by Bramante for Raphael , but Raphael is said to have acquired it later.
42. ^ Puppi, Lionello: Andrea Palladio, Das Gesamtwerk . Deutsche Verlagsanstalt, Stuttgart / Munich 2000. , p. 280
43. ^ Borsi, Franco: Bramante . Electa, Milan 1989, ISBN 88-435-2666-9 . , P. 325; The palace was initially converted into the Palazzo dei Convertendi and finally demolished in 1937 to make way for a street
44. ↑ for example by Franco Borsi, see Borsi, Franco: Bramante . Electa, Milan 1989, ISBN 88-435-2666-9 . , s. 323
45. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 79; Guido Beltramini is of the decided opinion that the drawing ( RIBA XIV / II recto) does not come from Palladio.
46. ↑ See drawing RIBA XIV / II recto in Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 79
47. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 79 and Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 171
48. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 176
49. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 171
50. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 171
51. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 172
52. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 172
53. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 74
54. ↑ Constant, Caroline: The Palladian Guide . Vieweg, Braunschweig 1988, ISBN 3-528-08724-2 . , P. 35
55. ^ Puppi, Lionello: Andrea Palladio, Das Gesamtwerk . Deutsche Verlagsanstalt, Stuttgart / Munich 2000. , p. 243
56. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 42
57. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 42
58. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 40
59. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 40
60. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 174
61. ^ Puppi, Lionello: Andrea Palladio, Das Gesamtwerk . Deutsche Verlagsanstalt, Stuttgart / Munich 2000. , p. 279
62. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 173
63. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 174
64. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 174
65. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 82
66. ↑ Andrea Palladio quoted. after: Beyer, Andreas; Schütte, Ulrich: The four books on architecture . Verlag für Architektur Artemis, Zurich / Munich 1984, ISBN 3-7608-8116-5 . , P. 121
67. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 77
68. ↑ Constant, Caroline: The Palladian Guide . Vieweg, Braunschweig 1988, ISBN 3-528-08724-2 . , P. 45
69. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 179
70. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 180
71. ↑ Constant, Caroline: The Palladian Guide . Vieweg, Braunschweig 1988, ISBN 3-528-08724-2 . , P. 46
72. ↑ Andrea Palladio quoted. after: Beyer, Andreas; Schütte, Ulrich: The four books on architecture . Verlag für Architektur Artemis, Zurich / Munich 1984, ISBN 3-7608-8116-5 . , P. 122
73. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 179
74. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 77
75. ↑ Andrea Palladio quoted. after: Beyer, Andreas; Schütte, Ulrich: The four books on architecture . Verlag für Architektur Artemis, Zurich / Munich 1984, ISBN 3-7608-8116-5 . , P. 123
76. ↑ Constant, Caroline: The Palladian Guide . Vieweg, Braunschweig 1988, ISBN 3-528-08724-2 . , P. 46
77. ↑ Andrea Palladio quoted. after: Beyer, Andreas; Schütte, Ulrich: The four books on architecture . Verlag für Architektur Artemis, Zurich / Munich 1984, ISBN 3-7608-8116-5 . , P. 122
78. ↑ Berger, Ursel: Palladio's early work, buildings and drawings . Cologne / Vienna 1978. , p. 186
79. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 34
80. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 82
81. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 40
82. ↑ Beltramini, Guido; Burns, Howard [Ed.]: Palladio . Royal Academy of Arts, London 2008, ISBN 978-1-905711-24-6 . , P. 7ff

Coordinates: 45 ° 32'58.6 "  N , 11 ° 32'43.1"  E.