The Palladian, Serlian, or Venetian window
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- | :''[[Andrea Palladio]]'' | + | The '''Palladian, Serlian, or Venetian [[window]]''' features largely in [[Andrea Palladio]]'s work, almost a trademark in his early career. It consists of a central light with semicircular arch over, carried on an impost consisting of a small [[entablature]], under which, and enclosing two other lights, one on each side, are [[pilasters]]. In the library at Venice, [[Jacopo Sansovino|Sansovino]] varied the design by substituting columns for the two inner pilasters. To describe its origin as being either Palladian or Venetian is not accurate; the motif was first used by [[Donato Bramante]] (Ackerman) and later mentioned by [[Sebastiano Serlio]] (1475–1554) in his seven-volume architectural book ''[[Tutte l'opere d'architettura et prospetiva]]'' expounding the ideals of Vitruvius and Roman architecture, this arched window is flanked by two lower rectangular openings, a motif that first appeared in the [[triumphal arch]]es of ancient Rome. Palladio used the motif extensively, most notably in the arcades of the [[Basilica Palladiana]] in [[Vicenza]]. It is also a feature of his entrances to both [[Villa Godi]] and [[Villa Forni-Cerato]]. It is perhaps this extensive use of the motif in the [[Veneto]] that has given the window its alternative name of the Venetian window; it is also known as a Serlian window. Whatever the name or the origin, this form of window has probably become one of the most enduring features of Palladio's work seen in the later architectural styles, evolved from Palladianism. |
- | The Palladian, Serlian, or Venetian window features largely in [[Palladio]]'s work, almost a trademark in his early career. It consists of a central light with semicircular arch over, carried on an impost consisting of a small [[entablature]], under which, and enclosing two other lights, one on each side, are [[pilasters]]. In the library at Venice, [[Jacopo Sansovino|Sansovino]] varied the design by substituting columns for the two inner pilasters. To describe its origin as being either Palladian or Venetian is not accurate; the motif was first used by [[Donato Bramante]] (Ackerman) and later mentioned by [[Sebastiano Serlio]] (1475–1554) in his seven-volume architectural book ''[[Tutte l'opere d'architettura et prospetiva]]'' expounding the ideals of Vitruvius and Roman architecture, this arched window is flanked by two lower rectangular openings, a motif that first appeared in the [[triumphal arch]]es of ancient Rome. Palladio used the motif extensively, most notably in the arcades of the [[Basilica Palladiana]] in [[Vicenza]]. It is also a feature of his entrances to both [[Villa Godi]] and [[Villa Forni-Cerato]]. It is perhaps this extensive use of the motif in the [[Veneto]] that has given the window its alternative name of the Venetian window; it is also known as a Serlian window. Whatever the name or the origin, this form of window has probably become one of the most enduring features of Palladio's work seen in the later architectural styles, evolved from Palladianism. | + | |
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The Palladian, Serlian, or Venetian window features largely in Andrea Palladio's work, almost a trademark in his early career. It consists of a central light with semicircular arch over, carried on an impost consisting of a small entablature, under which, and enclosing two other lights, one on each side, are pilasters. In the library at Venice, Sansovino varied the design by substituting columns for the two inner pilasters. To describe its origin as being either Palladian or Venetian is not accurate; the motif was first used by Donato Bramante (Ackerman) and later mentioned by Sebastiano Serlio (1475–1554) in his seven-volume architectural book Tutte l'opere d'architettura et prospetiva expounding the ideals of Vitruvius and Roman architecture, this arched window is flanked by two lower rectangular openings, a motif that first appeared in the triumphal arches of ancient Rome. Palladio used the motif extensively, most notably in the arcades of the Basilica Palladiana in Vicenza. It is also a feature of his entrances to both Villa Godi and Villa Forni-Cerato. It is perhaps this extensive use of the motif in the Veneto that has given the window its alternative name of the Venetian window; it is also known as a Serlian window. Whatever the name or the origin, this form of window has probably become one of the most enduring features of Palladio's work seen in the later architectural styles, evolved from Palladianism.