Palladio ist wahrscheinlich der einfluBreichste aller westlichen Architekten. Trotz seiner Bekanntheit wird sein Werk haufig falsch interpretiert. Die palladianische Villa wird oft als isoliertes Objekt analysiert, kontextlos und einem neuplatonischen Ideal nachstrebend. Darliber hinaus werden Palladios Stadtbauten kaum in Zusam- menhang mit den einfluBreicheren landlichen Villen gesehen. Deshalb werden haufig die seinen Werken zugrunde liegende Haltung zum Raum und die flir seine Bauten charakteristische ordnende Beziehung zur Umgebung vernachlassigt. Solche Ansich- ten scheinen von einer spezifisch modernen Sensibilisierung herzurlihren. Der "Kult des Objekts", wie ihn das 20. Jahrhundert entwickelte, und der Hang zur Abstraktion haben unser Bild Palladios verdlistert. Die optische Evidenz, die Gebaude selbst wer- den miBachtet. Rudolf Wittkower hat in seiner bekannten Studie liber die Prinzipien von Palladios Architektur unabsichtlich das Bild von der palladianischen Villa als eines freistehen- 1 den Objekts befordert. Indem er die flir die Landwirtschaft vorgesehenen Flligelge- baude yom Plan der Villen eliminiert und sich auf die proportionalen Beziehungen innerhalb des zentralen Wohnhauses konzentriert, schlieBt Wittkower, daB die Ent- wicklung der palladianischen Villa in der Villa Rotonda kulminiere (Abb. 7, 8). Witt- kowers eindringliche Analyse ignoriert nicht nur die Komplexitat der Villenkompo- sition als ganzer, sie laBt auch Villen auBer Acht, die urn einen Hof herum gebaut sind und keinen zentralen Wohnteil besitzen. In der Folge haben verschiedene Gelehrte diese Beispiele als isoliert oder atypisch beschrieben und damit unterstellt, daB diese Gebaude nicht mit Palladios Gesamtwerk auf einer Linie liegen.

Exemplary reprint of l6th-century classic. Covers classical architectural remains, Renaissance revivals, classical orders, etc. 1738 Ware English edition. 216 plates. "...a new and splendid edition of what has probably been the most influential book published in the history of architecture since its first appearance in 1570."-Art in America.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Le Terme Dei Romani Disegnate Da --- Andrea PALLADIO G. Rossi, 1797

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++<sourceLibrary>British Library<ESTCID>T022366<Notes>Translated from the Italian by N. Du Bois. Imprint to vol.2 (i.e. 'book the third) reads: 'London, Printed for the author.'.<imprintFull>London: printed by John Darby, for the author, and all the plates by John Vantack, 1721. <collation>2v., plates(some fold.): ill.port.; 2

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT095463Translated from the Italian of Andrea Palladio by Nicholas Dubois, and edited by Leoni. Published without the notes and observations made by Inigo Jones called for on the titlepage, for which an apology is made in the preface to vol.4, pt.2. Vols 2 and London: printed by John Watts, for the author, 1715-20. 4v., plates(some fold.): ill.; 2

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++<sourceLibrary>British Library<ESTCID>T022366<Notes>Translated from the Italian by N. Du Bois. Imprint to vol.2 (i.e. 'book the third) reads: 'London, Printed for the author.'.<imprintFull>London: printed by John Darby, for the author, and all the plates by John Vantack, 1721. <collation>2v., plates(some fold.): ill.port.; 2

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++<sourceLibrary>British Library<ESTCID>T022367<Notes>Titlepage in red and black. Includes: 'Appendix. The antiquities of Rome. By Andrea Palladio To which is added, a discourse of the fires of the ancients'. Translated from the Italian by N. Dubois.<imprintFull>London: printed for A. Ward; S. Birt; D Browne; C. Davis; T. Osborne; and A. Millar, 1742. <collation>2v., plates: ill., port.; 2

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT095463Translated from the Italian of Andrea Palladio by Nicholas Dubois, and edited by Leoni. Published without the notes and observations made by Inigo Jones called for on the titlepage, for which an apology is made in the preface to vol.4, pt.2. Vols 2 and London: printed by John Watts, for the author, 1715-20. 4v., plates(some fold.): ill.; 2