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{{Short description|Style of architecture derived from the Venetian Andrea Palladio}}
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[[File:Andrea palladio fourth book image.jpg|thumb|right|upright=1.3|A villa with a superimposed portico, from Book IV of Palladio's ''[[I quattro libri dell'architettura]]'', in an English translation published in London, 1736|alt=See caption]]
[[File:PalladioRotondaPlan.jpg|thumb|right|upright=1.3|Plan for Palladio's [[Villa La Rotonda]] ({{circa|1565}}) – features of the house were incorporated in numerous Palladian-style houses throughout Europe over the following centuries.|alt=Top: Villa La Rotonda, with the left half showing the exterior of the building, and the right half showing the interior. Bottom: a floor plan of Villa La Rotonda]]

'''Palladian architecture''' is a European [[architectural style]] derived from the work of the [[Republic of Venice|Venetian]] architect [[Andrea Palladio]] (1508–1580). What is today recognised as Palladian architecture evolved from his concepts of [[symmetry]], [[Perspective (graphical)|perspective]] and the principles of formal [[classical architecture]] from [[Classical Greece|ancient Greek]] and [[Ancient Rome|Roman]] traditions. In the 17th and 18th centuries, Palladio's interpretation of this classical architecture developed into the style known as Palladianism.

Palladianism emerged in England in the early 17th century, led by [[Inigo Jones]], whose [[Queen's House]] at [[Greenwich]] has been described as the first English Palladian building. Its development faltered at the onset of the [[English Civil War]]. After the [[Stuart Restoration]], the architectural landscape was dominated by the more flamboyant [[English Baroque]]. Palladianism returned to fashion after a reaction against the Baroque in the early 18th century, fuelled by the publication of a number of architectural books, including Palladio's own ''[[I quattro libri dell'architettura]]'' (''The Four Books of Architecture'') and [[Colen Campbell]]'s ''[[Vitruvius Britannicus]]''. Campbell's book included illustrations of [[Wanstead House]], a building he designed on the outskirts of London and one of the largest and most influential of the early neo-Palladian houses. The movement's resurgence was championed by [[Richard Boyle, 3rd Earl of Burlington]], whose buildings for himself, such as [[Chiswick House]] and [[Burlington House]], became celebrated. Burlington sponsored the career of the artist, architect and landscaper [[William Kent]], and their joint creation, [[Holkham Hall]] in [[Norfolk]], has been described as "the most splendid Palladian house in England".{{sfn|Curl|2016|p=409}} By the middle of the century Palladianism had become almost the national architectural style, epitomised by Kent's [[Horse Guards (building)|Horse Guards]] at the centre of the nation's capital.

The Palladian style was also widely used throughout Europe, often in response to English influences. In [[Prussia]] the critic and courtier [[Francesco Algarotti]] corresponded with Burlington about his efforts to persuade [[Frederick the Great]] of the merits of the style, while [[Georg Wenzeslaus von Knobelsdorff|Knobelsdorff]]'s [[Berlin State Opera|opera house in Berlin]] on the [[Unter den Linden]], begun in 1741, was based on Campbell's Wanstead House. Later in the century, when the style was losing favour in Europe, Palladianism had a surge in popularity throughout the [[British colonization of the Americas|British colonies in North America]]. [[Thomas Jefferson]] sought out Palladian examples, which themselves drew on buildings from the time of the [[Roman Republic]], to develop a new architectural style for the [[Republicanism in the United States|American Republic]]. Examples include the [[Hammond–Harwood House]] in [[Maryland]] and Jefferson's own house, [[Monticello]], in [[Virginia]]. The Palladian style was also adopted in other British colonies, including those in the [[Indian subcontinent]].

In the 19th century, Palladianism was overtaken in popularity by [[Neoclassical architecture]] in both Europe and in North America. By the middle of that century, both were challenged and then superseded by the [[Gothic Revival architecture|Gothic Revival]] in the English-speaking world, whose champions such as [[Augustus Pugin]], remembering the origins of Palladianism in ancient temples, deemed the style too pagan for true [[Christian worship]]. In the 20th and 21st centuries, Palladianism has continued to evolve as an architectural style; its [[pediment]]s, symmetry and [[Proportion (architecture)|proportions]] are evident in the design of many modern buildings, while its inspirer is regularly cited as having been among the world's most influential architects.

==Palladio's architecture==
[[File:Palladio Villa Godi.jpg|thumb|left|"True Palladianism" at the [[Villa Godi]] (1537–1542) – from Palladio's ''[[I quattro libri dell'architettura]]''. The flanking pavilions are agricultural buildings not part of the villa. In the 18th century, the connecting colonnades evolved as [[enfilade (architecture)|enfilades of rooms]] while the pavilions often became self-contained wings or blocks – a common feature of 18th century Palladianism|alt=[[Villa Godi]] flanked by two structures.]]

[[Andrea Palladio]] was born in [[Padua]] in 1508, the son of a [[stonemason]].{{sfn|Tavernor|1991|p=18}} He was inspired by [[Roman architecture|Roman buildings]], the writings of [[Vitruvius]] (80&nbsp;BC), and his immediate predecessors [[Donato Bramante]] and [[Raphael]]. Palladio aspired to an architectural style that used [[symmetry]] and [[Proportion (architecture)|proportion]] to emulate the grandeur of [[Classical antiquity|classical]] buildings.{{sfn|Curl|2016|p=549}} His surviving buildings are in [[Venice]], the [[Veneto]] region, and [[Vicenza]],<ref>{{cite web|url=https://whc.unesco.org/en/list/712/|title=City of Vincenza and the Palladian villas of the Veneto|publisher=[[UNESCO]]|access-date=19 June 2022|archive-date=30 November 2021|archive-url=https://web.archive.org/web/20211130082439/http://whc.unesco.org/en/list/712|url-status=live}}</ref> and include [[Palladian villas of the Veneto|villas]] and churches such as the [[Il Redentore|Basilica del Redentore]] in Venice.{{sfn|Wundram|Pape|2004|p=156}} Palladio's architectural [[treatise]]s follow the approach defined by Vitruvius and his 15th-century disciple [[Leon Battista Alberti]], who adhered to principles of classical Roman architecture based on mathematical proportions rather than the ornamental style of the [[Renaissance]].{{sfn|Wittkower|1988|p=31}} Palladio recorded and publicised his work in the 1570 four-volume illustrated study, ''I quattro libri dell'architettura'' (The Four Books of Architecture).{{sfn|Curl|2016|p=551}}

Palladio's [[villa]]s are designed to fit with their setting.{{sfn|Wundram|Pape|2004|p=240}} If on a hill, such as [[Villa Capra "La Rotonda"|Villa Almerico Capra Valmarana]] (Villa Capra, or La Rotonda), [[façade]]s were of equal value so that occupants could enjoy views in all directions.{{sfn|Wundram|Pape|2004|p=186}} [[Portico]]s were built on all sides to enable the residents to appreciate the countryside while remaining protected from the sun.{{sfn|Worsley|2007|p=129}}{{refn|Palladio's description of the Villa Capra includes the commentary; "One enjoys the most beautiful views on all sides and for this reason, porticos have been built on all four sides."{{sfn|Kruft|1994|p=90}}|group=n}} Palladio sometimes used a [[loggia]] as an alternative to the portico. This is most simply described as a recessed portico, or an internal single storey room with pierced walls that are open to the elements. Occasionally a loggia would be placed at second floor level over the top of another loggia, creating what was known as a double loggia.<ref>{{cite web|url=https://www.palladiomuseum.org/veneto/opera/17|title=Palazzo Chiericati|publisher=Palladio Museum|access-date=2 July 2022|archive-date=19 October 2021|archive-url=https://web.archive.org/web/20211019130854/https://www.palladiomuseum.org/veneto/opera/17|url-status=live}}</ref> Loggias were sometimes given significance in a façade by being surmounted by a [[pediment]]. [[Villa Godi]]'s focal point is a loggia rather than a portico, with loggias terminating each end of the main building.{{sfn|Copplestone|1963|p=251}}

[[File:08-Villa-Rotonda-Palladio.jpg|thumb|right|[[Villa Capra "La Rotonda"]] (begun {{circa|1565}}) – one of Palladio's most influential designs|alt=See caption]]
Palladio would often model his villa elevations on [[Roman temple]] façades. The temple influence, often in a [[cruciform]] design, later became a [[trademark]] of his work.{{sfn|Tavernor|1991|p=77}}{{refn|[[Giles Worsley]], in his study ''Inigo Jones and the European Classicist Tradition'', writes; "The portico is so strongly associated today with the country house, and specifically with Palladio's villas, it is easy to forget that, outside of the Veneto, it was principally associated with religious buildings until the late seventeenth century".{{sfn|Worsley|2007|p=129}}|group=n}} Palladian villas are usually built with three floors: a [[Rustication (architecture)|rusticated]] basement or ground floor, containing the service and minor rooms; above this, the ''[[piano nobile]]'' (noble level), accessed through a portico reached by a flight of external steps, containing the principal reception and bedrooms; and lastly a low [[Mezzanine (architecture)|mezzanine]] floor with secondary bedrooms and accommodation. The proportions of each room (for example, height and width) within the villa were calculated on simple mathematical ratios like 3:4 and 4:5. The arrangement of the different rooms within the house, and the external façades, were similarly determined.<ref>{{cite journal|url=https://link.springer.com/content/pdf/10.1007/s00004-998-0011-3.pdf|first=Stephen R.|last=Wassell|title=The Mathematics of Palladio's Villas|journal=Nexus Network Journal|date=19 January 2004|doi=10.1007/s00004-998-0011-3|s2cid=119876036|access-date=2 July 2022|archive-date=26 June 2022|archive-url=https://web.archive.org/web/20220626085533/https://link.springer.com/content/pdf/10.1007/s00004-998-0011-3.pdf|url-status=live}}</ref>{{refn|Wundram and Pape describe Palladio's approach in the chapter on the Villa Capra in their 2004 study, ''Palladio: The Complete Buildings''; "The proportions and principles become clear in the ground-plan with positively mathematical precision. The porticos take up half the width of the cubical central building. The column entrance halls and flights of steps each correspond to half the depth of the core of the building. In other words, the sum of the four porticos and flights of steps covers the same area as the main building."{{sfn|Wundram|Pape|2004|p=194}}|group=n}} Earlier architects had used these formulas for balancing a single symmetrical façade; however, Palladio's designs related to the entire structure.{{sfn|Copplestone|1963|p=251}} Palladio set out his views in ''I quattro libri dell'architettura'': "beauty will result from the form and correspondence of the whole, with respect to the several parts, of the parts with regard to each other, and of these again to the whole; that the structure may appear an entire and complete body, wherein each member agrees with the other, and all necessary to compose what you intend to form."<ref>{{cite web|url=https://conservancy.umn.edu/bitstream/handle/11299/183051/MathematicalBeautyinRenaissanceArchitecture_Essay.pdf?sequence=4&isAllowed=y|first=Samantha|last=Matuke|title=Mathematical Beauty in Renaissance Architecture|publisher=Renaissance Architecture|date=12 May 2016|access-date=16 July 2022|archive-date=5 July 2022|archive-url=https://web.archive.org/web/20220705191318/https://conservancy.umn.edu/bitstream/handle/11299/183051/MathematicalBeautyinRenaissanceArchitecture_Essay.pdf?sequence=4&isAllowed=y|url-status=live}}</ref>

Palladio considered the dual purpose of his villas as the centres of farming estates and weekend retreats.<ref>{{Cite news|url=https://www.bbc.com/news/magazine-34143566|title=Palladio: The architect who inspired our love of columns|last=Kerley|first=Paul|date=10 September 2015|access-date=2 July 2022|publisher=[[BBC News]]|archive-date=6 March 2019|archive-url=https://web.archive.org/web/20190306045856/https://www.bbc.com/news/magazine-34143566|url-status=live}}</ref> These symmetrical temple-like houses often have equally symmetrical, but low, wings, or [[barchessa]]s, sweeping away from them to accommodate horses, farm animals, and agricultural stores.{{sfn|O'Brien|Guinness|1993|p=52}} The wings, sometimes detached and connected to the villa by [[colonnade]]s, were designed not only to be functional but also to complement and accentuate the villa. Palladio did not intend them to be part of the main house, but the development of the wings to become integral parts of the main building – undertaken by Palladio's followers in the 18th century – became one of the defining characteristics of Palladianism.{{sfn|Copplestone|1963|pp=251–252}}

== Venetian and Palladian windows ==
[[File:Vicenza Basilica Palladiana 03.jpg|thumb|left|upright=1.2|[[Basilica Palladiana]], [[Vicenza]] (from 1546) – loggia with Palladian windows|alt=See caption]]
Palladian, Serlian,{{refn|After [[Sebastiano Serlio]] (1475–1554), an architect and illustrator whose ''L'Architetturra'' was a model for Palladio's ''I quattro libri dell'architettura''.{{sfn|Curl|2016|p=696}}|group=n}} or Venetian windows are a trademark of Palladio's early career. There are two different versions of the [[Motif (visual arts)|motif]]: the simpler one is called a [[Venetian window]], and the more elaborate a Palladian window or "Palladian motif", although this distinction is not always observed.<ref>{{cite journal|url=https://www.ribaj.com/culture/palladian-windows|title=Seven Palladian windows|journal=[[RIBA Journal]]|date=7 September 2014|access-date=2 July 2022|archive-date=23 May 2022|archive-url=https://web.archive.org/web/20220523235233/https://www.ribaj.com/culture/palladian-windows|url-status=live}}</ref>

The Venetian window has three parts: a central high round-arched opening, and two smaller rectangular openings to the sides. The side windows are topped by [[lintel]]s and supported by columns.{{sfn|Summerson|1981|p=134}} This is derived from the ancient Roman [[triumphal arch]], and was first used outside Venice by Donato Bramante and later mentioned by [[Sebastiano Serlio]] (1475–1554) in his seven-volume architectural book ''[[Tutte l'opere d'architettura et prospetiva]]'' (''All the Works of Architecture and Perspective'') expounding the ideals of Vitruvius and Roman architecture.{{sfn|Wittkower|1974|p=156}} It can be used in series, but is often only used once in a façade, as at [[New Wardour Castle]],<ref>{{cite web|url= https://historicengland.org.uk/listing/the-list/list-entry/1146004|title= Wardour Castle|publisher= [[Historic England]]|work= [[National Heritage List for England]]|access-date= 19 June 2022|archive-date= 19 June 2022|archive-url= https://web.archive.org/web/20220619151524/https://historicengland.org.uk/listing/the-list/list-entry/1146004|url-status= live}}</ref> or once at each end, as on the inner façade of [[Burlington House]] (true Palladian windows).<ref>{{cite web|url=https://historicengland.org.uk/listing/the-list/list-entry/1226676|title=Royal Academy including Burlington House and Galleries and Royal Academy Schools Buildings|publisher=[[Historic England]]|work=[[National Heritage List for England]]|access-date=19 June 2022|archive-date=10 March 2016|archive-url=https://web.archive.org/web/20160310095208/https://historicengland.org.uk/listing/the-list/list-entry/1226676|url-status=live}}</ref>{{refn|The architectural historian [[Timothy Mowl]] notes that the placing of the Venetian windows in each end bay was, in fact, "something Palladio never did."{{sfn|Mowl|2006|p=83}}|group=n}}

Palladio's elaboration of this, normally used in a series, places a larger or [[giant order]] in between each window, and doubles the small columns supporting the side lintels, placing the second column behind rather than beside the first. This was introduced in the {{lang|it|[[Biblioteca Marciana]]|italic=no}} in Venice by [[Jacopo Sansovino]] (1537), and heavily adopted by Palladio in the [[Basilica Palladiana]] in Vicenza,{{sfn|Summerson|1981|pp=129–130}} where it is used on both storeys; this feature was less often copied. The openings in this elaboration are not strictly windows, as they enclose a loggia. [[Pilaster]]s might replace columns, as in other contexts. Sir [[John Summerson]] suggests that the omission of the doubled columns may be allowed, but the term "Palladian motif" should be confined to cases where the larger order is present.{{sfn|Summerson| 1981|p=130}}
[[File:Claydon House - geograph.org.uk - 1285177.jpg|thumb|[[Claydon House]] (begun 1757) – the [[Venetian window]] in the central bay is surrounded by a unifying blind arch<ref name="auto2">{{cite web|url= https://historicengland.org.uk/listing/the-list/list-entry/1288461|title= Claydon House|publisher= [[Historic England]]|work= [[National Heritage List for England]]|access-date= 2 July 2022|archive-date= 2 July 2022|archive-url= https://web.archive.org/web/20220702074509/https://historicengland.org.uk/listing/the-list/list-entry/1288461|url-status= live}}</ref>|alt=See caption]]

Palladio used these elements extensively, for example in very simple form in his entrance to [[Villa Forni Cerato]].{{sfn|Wundram|Pape|2004|pp=27–30}} It is perhaps this extensive use of the motif in the Veneto that has given the window its alternative name of the Venetian window. Whatever the name or the origin, this form of window has become one of the most enduring features of Palladio's work seen in the later architectural styles evolved from Palladianism.{{sfn|Constant|1993|p=42}}{{refn|A notable example in America is the Palladian window set into the north front of [[Mount Vernon]], [[George Washington]]'s home in Virginia. The centrepiece of the New Room, and installed during Washington's second rebuilding, the window draws heavily on a design from [[Batty Langley]]'s ''City and Country Builder's and Workman's Treasury of Designs'', published in 1750.<ref>{{cite web|url=https://www.mountvernon.org/library/digitalhistory/digital-encyclopedia/article/palladian-window/|first=Lydia Mattice|last=Brandt|title=Palladian Window|publisher=Mount Vernon Estate|access-date=31 July 2022|archive-date=6 July 2022|archive-url=https://web.archive.org/web/20220706002416/https://www.mountvernon.org/library/digitalhistory/digital-encyclopedia/article/palladian-window/|url-status=live}}</ref>|group=n}} According to [[James Lees-Milne]], its first appearance in Britain was in the remodelled wings of Burlington House, London, where the immediate source was in the English court architect [[Inigo Jones]]'s designs for [[Whitehall Palace]] rather than drawn from Palladio himself. Lees-Milne describes the Burlington window as "the earliest example of the revived Venetian window in England".{{sfn|Lees-Milne|1986|p=100}}

A variant, in which the motif is enclosed within a relieving [[blind arch]] that unifies the motif, is not Palladian, though Richard Boyle seems to have assumed it was so, in using a drawing in his possession showing three such features in a plain wall. Modern scholarship attributes the drawing to [[Vincenzo Scamozzi]].{{refn|Inigo Jones met Scamozzi in Venice in 1613–1614 and the former's acerbic criticisms of the latter, "in this as in most things Scamozzi errs", have been much analysed by architectural historians. Nonetheless, Giles Worsley notes the large number of books and drawings by Scamozzi Jones held in his library, and their considerable influence on his work.{{sfn|Worsley|2007|p=99}}|group=n}} Burlington employed the motif in 1721 for an elevation of [[Tottenham House|Tottenham Park]] in [[Savernake Forest]] for his brother-in-law Lord Bruce (since remodelled).{{sfn|Bold|1988|pp=140–144}}{{refn|A design by Burlington for a Kitchen block at Tottenham draws inspiration very directly from a Palladio design for the [[Villa Valmarana (Vigardolo)]].{{sfn|Harris|1995|pp=88–89}}|group=n}} [[William Kent]] used it in his designs for the Houses of Parliament, and it appears in his executed designs for the north front of [[Holkham Hall]].{{sfn|Lees-Milne|1986|p=133}} Another example is [[Claydon House]], in [[Buckinghamshire]]; the remaining fragment is one wing of what was intended to be one of two flanking wings to a vast Palladian house. The scheme was never completed and parts of what was built have since been demolished.<ref name="auto2"/>

== Early Palladianism ==
[[File:Queens House.jpg|thumb|left|upright=1.4|The [[Queen's House]], Greenwich (begun 1616) – [[Inigo Jones]]'s masterpiece<ref>{{cite web|url=https://www.rmg.co.uk/queens-house|title=Queen's House|publisher=Royal Museums Greenwich|access-date=11 July 2022|archive-date=29 June 2022|archive-url=https://web.archive.org/web/20220629100106/https://www.rmg.co.uk/queens-house|url-status=live}}</ref>|alt=See caption]]
During the 17th century, many architects studying in Italy learned of Palladio's work, and on returning home adopted his style, leading to its widespread use across Europe and North America.{{sfn|Ackerman|1991|p=80}}<ref>{{cite web|url=https://whc.unesco.org/en/list/712/|title=City of Vicenza and the Palladian Villas of the Veneto|publisher=[[UNESCO]]|access-date=26 June 2022|archive-date=30 November 2021|archive-url=https://web.archive.org/web/20211130082439/http://whc.unesco.org/en/list/712|url-status=live}}</ref> Isolated forms of Palladianism throughout the world were brought about in this way, although the style did not reach the zenith of its popularity until the 18th century.{{sfn|Copplestone|1963|p=252}} An early reaction to the excesses of [[Baroque architecture]] in Venice manifested itself as a return to Palladian principles. The earliest neo-Palladians there were the exact contemporaries [[Domenico Rossi (architect)|Domenico Rossi]] (1657–1737){{refn|Rossi built the new façade for the rebuilt [[San Stae|Sant'Eustachio]], known in Venice as San Stae, 1709, which was among the most sober in a competition that was commemorated with engravings of the submitted designs, and he rebuilt [[Ca' Corner della Regina, Venice|Ca' Corner della Regina]], 1724–1727.{{sfn|Howard|Quill|2002|p=238}}|group=n}} and [[Andrea Tirali]] (1657–1737).{{refn|His façade of [[San Vidal, Venice|San Vidal]] is a faithful restatement of Palladio's [[San Francesco della Vigna]] and his masterwork is [[Tolentini, Venice]] (1706–1714).{{sfn|Howard|Quill|2002|p=238}}|group=n}} Their biographer, [[Tommaso Temanza]], proved to be the movement's most able proponent; in his writings, Palladio's visual inheritance became increasingly codified and moved towards [[neoclassical architecture|neoclassicism]].{{sfn|Tavernor|1991|p=112}}

The most influential follower of Palladio was Inigo Jones, who travelled throughout Italy with the art collector [[Thomas Howard, 14th Earl of Arundel|Earl of Arundel]] in 1613–1614, annotating his copy of Palladio's treatise.{{sfn|Pevsner|1960|p=516}}{{refn|Inigo Jones's annotated copy of ''I quattro libri dell'architettura'' is held in the library of [[Worcester College, Oxford]]. Summerson described it as "a document fraught with great significance for English architecture."{{sfn|Summerson|1953|p=66}}|group=n}}{{refn|Jones travelled as far south as [[Naples]] where he closely studied the church of [[San Paolo Maggiore, Naples|San Paolo Maggiore]]. Palladio had written about, and illustrated, this church which, before severe damage in [[1688 Sannio earthquake|an earthquake in 1688]], "looked like the Roman temple it essentially was".{{sfn|Chaney|2006|p=168}}|group=n}} The "Palladianism" of Jones and his contemporaries and later followers was a style largely of façades, with the mathematical formulae dictating layout not strictly applied. A handful of country houses in England built between 1640 and 1680 are in this style.{{sfn|Bold|1988|p=25}}{{sfn|Bold|1988|p=3}} These follow the success of Jones's Palladian designs for the [[Queen's House]] at [[Greenwich]],{{sfn|Whinney|1970|pp=33–35}} the first English Palladian house,<ref>{{cite web|url=https://www.rmg.co.uk/stories/topics/inigo-jones-queens-house|title=Designing the Queen's House|publisher=Royal Museums Greenwich|access-date=4 July 2022|archive-date=29 June 2022|archive-url=https://web.archive.org/web/20220629090832/https://www.rmg.co.uk/stories/topics/inigo-jones-queens-house|url-status=live}}</ref> and the [[Banqueting House]] at [[Whitehall]], the uncompleted royal palace in [[London]] of [[Charles I of England|Charles I]].{{sfn|Copplestone|1963|p=280}}

Palladian designs advocated by Jones were too closely associated with the court of Charles I to survive the turmoil of the [[English Civil War]].{{sfn|Bold|1988|p=5}}<ref>{{cite web|url=https://www.nationaltrust.org.uk/features/what-is-palladianism|first=William|last=Whyte|title=What is Palladianism?|publisher=[[National Trust]]|access-date=25 June 2022|archive-date=25 June 2022|archive-url=https://web.archive.org/web/20220625094737/https://www.nationaltrust.org.uk/features/what-is-palladianism|url-status=live}}</ref> Following the [[Restoration (England)|Stuart restoration]], Jones's Palladianism was eclipsed by the [[English Baroque|Baroque]] designs of such architects as [[William Talman (architect)|William Talman]],{{sfn|Colvin|1978|p=803}} Sir [[John Vanbrugh]], [[Nicholas Hawksmoor]], and Jones's pupil [[John Webb (architect)|John Webb]].{{sfn|Copplestone|1963|p=281}}<ref>{{cite web|url=https://georgiangroup.org.uk/georgian-architecture/|title=Introduction to Georgian Architecture|publisher=[[The Georgian Group]]|access-date=26 June 2022|archive-date=9 July 2022|archive-url=https://web.archive.org/web/20220709003154/https://georgiangroup.org.uk/georgian-architecture/|url-status=live}}</ref>

==Neo-Palladianism==

=== English Palladian architecture ===
[[File:Wanstead - intended design.jpg|thumb|right|upright=1.3|[[Wanstead House]] (1722) – among the first, and largest, of the Neo-Palladian houses; the image is from Colen Campbell's ''Vitruvius Britannicus''.|alt=See caption]]
The Baroque style proved highly popular in continental Europe, but was often viewed with suspicion in England, where it was considered "theatrical, exuberant and Catholic."{{sfn|Curl|2016|p=63}}<ref>{{cite web|url=https://www.theguardian.com/artanddesign/2011/sep/10/baroque-british-architecture|first=Simon|last=Jenkins|title=English baroque architecture: seventy years of excess|work=[[The Guardian]]|date=10 September 2011|access-date=2 July 2022|archive-date=1 July 2022|archive-url=https://web.archive.org/web/20220701164521/https://www.theguardian.com/artanddesign/2011/sep/10/baroque-british-architecture|url-status=live}}</ref> It was superseded in Britain in the first quarter of the 18th century when four books highlighted the simplicity and purity of classical architecture.{{sfn|Summerson|1953|pp=295–297}}{{sfn|Cruikshank|1985|pp=6–7}} These were:
* ''[[Vitruvius Britannicus]]'' ''(The British Architect)'', published by [[Colen Campbell]] in 1715 (of which supplemental volumes appeared through the century);{{sfn|Summerson|1953|p=188}}
* ''[[I quattro libri dell'architettura]]'' ''(The Four Books of Architecture)'', by Palladio himself, translated by [[Giacomo Leoni]] and published from 1715 onwards;{{sfn|Summerson|1953|p=188}}
* {{Lang|la|[[De re aedificatoria]]}} ''(On the Art of Building)'', by [[Leon Battista Alberti]], translated by Giacomo Leoni and published in 1726;{{sfn|Summerson|1953|p=208}} and
* ''The Designs of Inigo Jones... with Some Additional Designs'', published by [[William Kent]] in two volumes in 1727. A further volume, ''Some Designs of Mr. Inigo Jones and Mr. William Kent'' was published in 1744 by the architect [[John Vardy]], an associate of Kent.{{sfn|Summerson|1953|p=208}}

The most favoured among patrons was the four-volume ''Vitruvius Britannicus'' by Campbell,{{sfn|Summerson|1953|pp=297–308}}{{sfn|Curl|2016|p=140}}{{refn|Modern scholarship suggests that Campbell's talents as a copyist and self-publicist exceeded his architectural ability. [[John Harris (curator)|John Harris]], in his 1995 catalogue ''The Palladian Revival'', accuses Campbell of "outrageous plagiari[sm]".{{sfn|Harris|1995|p=15}}|group=n}} The series contains architectural prints of British buildings inspired by the great architects from Vitruvius to Palladio; at first mainly those of Inigo Jones, but the later works contained drawings and plans by Campbell and other 18th-century architects.<ref>{{cite web|url=https://www.vam.ac.uk/articles/palladianism-an-introduction#slideshow=877499804&slide=0|title=Palladianism – an introduction|publisher=[[Victoria and Albert Museum]]|access-date=26 June 2022|archive-date=26 June 2022|archive-url=https://web.archive.org/web/20220626071002/https://www.vam.ac.uk/articles/palladianism-an-introduction#slideshow=877499804&slide=0|url-status=live}}</ref>{{refn|[[Howard Colvin]] writes; "It was a book with a message, the superiority of ‘antique simplicity’ over the ‘affected and licentious’ forms of the Baroque".{{sfn|Colvin|1978|p=182}}|group=n}} These four books greatly contributed to Palladian architecture becoming established in 18th-century Britain.<ref>{{cite web|url=https://www.theguardian.com/artanddesign/architecture-design-blog/2015/sep/11/andrea-palladio-worlds-favourite-16c-architect-palladian-design-riba|first=Oliver|last=Wainright|title=Why Palladio is the world's favourite 16th-century architect|work=[[The Guardian]]|date=11 September 2015|access-date=2 July 2022|archive-date=26 June 2022|archive-url=https://web.archive.org/web/20220626065117/https://www.theguardian.com/artanddesign/architecture-design-blog/2015/sep/11/andrea-palladio-worlds-favourite-16c-architect-palladian-design-riba|url-status=live}}</ref> Campbell and Kent became the most fashionable and sought-after architects of the era. Campbell had placed his 1715 designs for the colossal [[Wanstead House]] near to the front of ''Vitruvius Britannicus'', immediately following the engravings of buildings by Jones and Webb, "as an exemplar of what new architecture should be".<ref>{{cite web|url=https://collections.vam.ac.uk/item/O1038653/vitruvius-britannicus-or-the-british-print-colen-campbell/|title=''Vitruvius Britannicus, or The British Architect'', Volume I|publisher=[[Victoria and Albert Museum]]|access-date=19 July 2022|archive-date=19 July 2022|archive-url=https://web.archive.org/web/20220719093947/https://collections.vam.ac.uk/item/O1038653/vitruvius-britannicus-or-the-british-print-colen-campbell/|url-status=live}}</ref> On the strength of the book, Campbell was chosen as the architect for [[Henry Hoare (banker)|Henry Hoare I]]'s [[Stourhead]] house.<ref>{{cite web|url= https://historicengland.org.uk/listing/the-list/list-entry/1131104|publisher= [[Historic England]]|work= [[National Heritage List for England]]|title= Stourhead House|access-date= 25 June 2022|archive-date= 25 June 2022|archive-url= https://web.archive.org/web/20220625131822/https://historicengland.org.uk/listing/the-list/list-entry/1131104|url-status= live}}</ref> Hoare's brother-in-law, [[William Benson (architect)|William Benson]], had designed [[Wilbury House]], the earliest 18th-century Palladian house in Wiltshire, which Campbell had also illustrated in ''Vitruvius Britannicus''.{{sfn|Orbach|Pevsner|Cherry|2021|p=784}}{{refn|In 1718 [[William Benson (architect)|William Benson]] manoeuvred [[Sir Christopher Wren]] out of his post of [[Surveyor of the King's Works]], but held the job for less than a year; [[John Summerson]] notes, "Benson proved his incompetence with surprising promptitude and resigned in 1719".{{sfn|Summerson|1953|p=170}}|group=n}}
[[File:Holkham-Hall-South-Facafe.jpg|thumb|right|upright=1.4|[[Holkham Hall]], South front (1734) – the four flanking wings are elevated, in height and importance, almost to the status of the central block.|alt=See caption]]

At the forefront of the new school of design was the "architect earl", [[Richard Boyle, 3rd Earl of Burlington]], according to [[Dan Cruikshank]] the "man responsible for this curious elevation of Palladianism to the rank of a quasi-religion".{{sfn|Cruikshank|1985|p=8}}{{sfn|Summerson|1953|pp=308–309}}{{refn|[[James Stevens Curl]] considers Burlington, "one of the most potent influences on the development of English architecture in its entire history".{{sfn|Curl|2016|p=128}}|group=n}} In 1729 he and Kent designed [[Chiswick House]].<ref>{{cite web|url=https://www.english-heritage.org.uk/visit/places/chiswick-house/history/|title=History of Chiswick House and Gardens|publisher=[[English Heritage]]|access-date=19 June 2022|archive-date=19 June 2022|archive-url=https://web.archive.org/web/20220619205455/https://www.english-heritage.org.uk/visit/places/chiswick-house/history/|url-status=live}}</ref>{{sfn|Summerson|1953|pp=309–313}} This house was a reinterpretation of Palladio's Villa Capra, but purified of 16th century elements and ornament.{{sfn|Yarwood|1970|p=104}} This severe lack of ornamentation was to be a feature of English Palladianism.<ref>{{cite web|url=https://www.vam.ac.uk/articles/palladianism-an-introduction#slideshow=877499804&slide=0|title=Palladianism – An Introduction|publisher=[[Victoria and Albert Museum]]|access-date=2 July 2022|archive-date=2 July 2022|archive-url=https://web.archive.org/web/20220702082544/https://www.vam.ac.uk/articles/palladianism-an-introduction#slideshow=877499804&slide=0|url-status=live}}</ref>

In 1734 Kent and Burlington designed [[Holkham Hall]] in [[Norfolk]].{{sfn|Bold|1988|p=141}}<ref name= NHLEHolkham>{{cite web|url= https://historicengland.org.uk/listing/the-list/list-entry/1373659|publisher= [[Historic England]]|work= [[National Heritage List for England]]|title= Holkham Hall|access-date= 25 June 2022|archive-date= 25 June 2022|archive-url= https://web.archive.org/web/20220625090508/https://historicengland.org.uk/listing/the-list/list-entry/1373659|url-status= live}}</ref> [[James Stevens Curl]] considers it "the most splendid Palladian house in England".{{sfn|Curl|2016|p=409}} The main block of the house followed Palladio's dictates, but his low, often detached, wings of farm buildings were elevated in significance. Kent attached them to the design, banished the farm animals, and elevated the wings to almost the same importance as the house itself.{{sfn|Summerson|1953|p=194}} It was the development of the flanking wings that was to cause English Palladianism to evolve from being a pastiche of Palladio's original work. Wings were frequently adorned with porticos and pediments, often resembling, as at the much later [[Kedleston Hall]], small [[country houses]] in their own right.<ref>{{cite web|url= https://historicengland.org.uk/listing/the-list/list-entry/1311507|publisher= [[Historic England]]|work= [[National Heritage List for England]]|title= Kedleston Hall|access-date= 25 June 2022|archive-date= 2 July 2022|archive-url= https://web.archive.org/web/20220702200544/https://historicengland.org.uk/listing/the-list/list-entry/1311507|url-status= live}}</ref>{{refn|At Holkham, the four wings contain a chapel, a kitchen, a guest wing and a private family wing.<ref name= NHLEHolkham/>|group=n}}

[[File:Woburn Abbey.jpg|thumb|left|upright=1.2|[[Woburn Abbey]] (1746) – designed by Burlington's student [[Henry Flitcroft]] and showing further development of the wings|alt=See caption]]
Architectural styles evolve and change to suit the requirements of each individual client. When in 1746 the [[John Russell, 4th Duke of Bedford|Duke of Bedford]] decided to rebuild [[Woburn Abbey]], he chose the fashionable Palladian style, and selected the architect [[Henry Flitcroft]], a protégé of Burlington.<ref name=NHLEWoburn>{{cite web|url= https://historicengland.org.uk/listing/the-list/list-entry/1114006?section=official-list-entry|publisher= [[Historic England]]|work= [[National Heritage List for England]]|title= Woburn Abbey: Official list entry|access-date= 25 June 2022|archive-date= 2 July 2022|archive-url= https://web.archive.org/web/20220702200717/https://historicengland.org.uk/listing/the-list/list-entry/1114006?section=official-list-entry|url-status= live}}</ref><ref>{{cite web|url=http://www.twickenham-museum.org.uk/detail.php?aid=64&ctid=1&cid=13|title=Henry Flitcroft – 'Burlington Harry'|publisher=Twickenham Museum|access-date=10 July 2022|archive-date=24 May 2022|archive-url=https://web.archive.org/web/20220524025147/http://www.twickenham-museum.org.uk/detail.php?aid=64&cid=13&ctid=1|url-status=live}}</ref> Flitcroft's designs, while Palladian in nature, had to comply with the Duke's determination that the plan and footprint of the earlier house, originally a [[Cistercians|Cistercian]] monastery, be retained.{{sfn|O'Brien|Pevsner|2014|p=331}} The central block is small, has only three bays, while the temple-like portico is merely suggested, and is closed. Two great flanking wings containing a vast suite of [[state room]]s{{sfn|Jenkins|2003|pp=5–6}} replace the walls or colonnades which should have connected to the farm buildings;{{refn|The architectural historian [[Mark Girouard]], in his work, ''Life In The English Country House'', notes that the arrangement developed by Palladio with the wings of the villa containing farm buildings was never followed in England. Although there are examples in Ireland and in North America, such "a close connection between house and farm was entirely at variance with the English tradition".{{sfn|Girouard|1980|p=151}}|group=n}} the farm buildings terminating the structure are elevated in height to match the central block and given [[Palladian window]]s, to ensure they are seen as of Palladian design.{{sfn|O'Brien|Pevsner|2014|p=332}} This development of the style was to be repeated in many houses and town halls in Britain over one hundred years. Often the terminating blocks would have blind porticos and pilasters themselves, competing for attention with, or complementing the central block. This was all very far removed from the designs of Palladio two hundred years earlier. Falling from favour during the [[Victorian era]], the approach was revived by Sir [[Aston Webb]] for his refacing of [[Buckingham Palace]] in 1913.{{sfn|Sutcliffe|2006|p=94}}{{refn|[[Aston Webb|Sir Aston Webb]] drew inspiration for his Buckingham Palace east frontage from the south front of [[Lyme Park]], [[Cheshire]] by [[Giacomo Leoni]] (1686–1746).<ref>{{cite web|url=https://www.rct.uk/collection/2303717-c|title=Lyme Park, Cheshire|publisher=Royal Collection Trust|access-date=11 July 2022|archive-date=11 July 2022|archive-url=https://web.archive.org/web/20220711062706/https://www.rct.uk/collection/2303717-c|url-status=live}}</ref><ref>{{cite web|url=https://www.thedicamillo.com/house/lyme-park-lyme-hall/|title=Lyme Park (Lyme Hall)|publisher=DiCamillo|access-date=11 July 2022|archive-date=17 May 2022|archive-url=https://web.archive.org/web/20220517021239/https://www.thedicamillo.com/house/lyme-park-lyme-hall/|url-status=live}}</ref>|group=n}}

The villa tradition continued throughout the late 18th century, particularly in the suburbs around London. [[William Chambers (architect)|Sir William Chambers]] built many examples, such as [[Parkstead House]].{{sfn|Worsley|1996|p=82}} But the grander English Palladian houses were no longer the small but exquisite weekend retreats that their Italian counterparts were intended as. They had become "power houses", in Sir John Summerson's words, the symbolic centres of the triumph and dominance of the [[Whigs (British political party)|Whig Oligarchy]] who ruled Britain unchallenged for some fifty years after the death of [[Anne, Queen of Great Britain|Queen Anne]].{{sfn|Ruhl|2011|p=2}}<ref>{{cite web|url=https://www.studiointernational.com/index.php/review-andrea-palladio-his-life-and-legacy|first=Michael|last=Spens|title=Andrea Palladio and the New Spirit in Architecture|publisher=Studio International Foundation|date=14 February 2009|access-date=2 July 2022|archive-date=5 July 2022|archive-url=https://web.archive.org/web/20220705134113/https://www.studiointernational.com/index.php/review-andrea-palladio-his-life-and-legacy|url-status=live}}</ref> Summerson thought Kent's [[Horse Guards (building)|Horse Guards]] on Whitehall epitomised "the establishment of Palladianism as the official style of Great Britain".{{sfn|Summerson|1953|p=208}} As the style peaked, thoughts of mathematical proportion were swept away. Rather than square houses with supporting wings, these buildings had the length of the façade as their major consideration: long houses often only one room deep were deliberately deceitful in giving a false impression of size.{{sfn|Guinness|Sadler|1976|p=70}}

=== Irish Palladian architecture ===
[[File:Castletown House 7.jpg|alt=See caption|left|thumb|[[Castletown House]] (1722) – an Irish Palladian house where the wings flank, but are separate from the house and are joined by colonnades, closely following Palladio's approach]]
During the Palladian revival period in Ireland, even modest mansions were cast in a neo-Palladian mould. Irish Palladian architecture subtly differs from the England style. While adhering as in other countries to the basic ideals of Palladio, it is often truer to them.{{sfn|Guinness|Sadler|1976|p=55}} In Ireland, Palladianism became political; both the [[Parliament House, Dublin|original]] and the [[Leinster House|present]] [[Oireachtas|Irish parliaments]] in [[Dublin]] occupy Palladian buildings.<ref>{{cite web|url=http://www.dublincivictrust.ie/dublins-buildings/architectural-styles--periods-|title=Palladian style (1720–1770)|publisher=[[Dublin Civic Trust]]|access-date=26 June 2022|archive-date=23 May 2022|archive-url=https://web.archive.org/web/20220523032413/http://www.dublincivictrust.ie/dublins-buildings/architectural-styles--periods-|url-status=live}}</ref>{{refn|So much of Dublin was built in the 18th century that it set a [[Georgian architecture|Georgian]] stamp on the city; however, due to poor planning and poverty, Dublin was until recently one of the few cities where fine 18th-century housing could be seen in ruinous condition.{{sfn|Casey|2005|pp=78–79}}|group=n}}

The Irish architect Sir [[Edward Lovett Pearce]] (1699–1733) became a leading advocate.{{sfn|Guinness|Sadler|1976|pp=55–59}} He was a cousin of Sir John Vanbrugh, and originally one of his pupils. He rejected the Baroque style, and spent three years studying architecture in France and Italy before returning to Ireland. His most important Palladian work is the former [[Irish Houses of Parliament]] in Dublin.{{sfn|Guinness|Sadler|1976|p=59}} Christine Casey, in her 2005 volume ''Dublin'', in the [[Pevsner Architectural Guides|Pevsner Buildings of Ireland]] series, considers the building, "arguably the most accomplished public set-piece of the Palladian style in [Britain]".{{sfn|Casey|2005|p=380}} Pearce was a prolific architect who went on to design the southern façade of [[Drumcondra House]] in 1725<ref>{{cite web|url=https://www.dia.ie/works/view/35398/CO.+DUBLIN%2C+DUBLIN%2C+GRACE+PARK+ROAD%2C+DRUMCONDRA+HOUSE|title=Sir Edward Lovett Pearce – Drumcondra House, Dublin|publisher=Dictionary of Irish Architects 1720–1940|access-date=3 July 2022|archive-date=3 July 2022|archive-url=https://web.archive.org/web/20220703065431/https://www.dia.ie/works/view/35398/CO.+DUBLIN,+DUBLIN,+GRACE+PARK+ROAD,+DRUMCONDRA+HOUSE|url-status=live}}</ref> and [[Summerhill House]] in 1731,<ref>{{cite web|url=http://collections.soane.org/SCHEME1164|title=Summerhill, Co. Meath|publisher=Sir John Soane's Museum|access-date=3 July 2022|archive-date=5 December 2022|archive-url=https://web.archive.org/web/20221205171044/http://collections.soane.org/SCHEME1164|url-status=live}}</ref> which was completed after his death by [[Richard Cassels]].<ref>{{cite journal|title=Sir Edward Lovett Pearce 1699–1733: the Palladian architect and his buildings|first=Pat|last=Sheridan|journal=[[Dublin Historical Record]]|volume=67|issue=2|year=2014|pages=19–25|jstor=24615990}}</ref> Pearce also oversaw the building of [[Castletown House]] near Dublin, designed by the Italian architect [[Alessandro Galilei]] (1691–1737).{{sfn|Guinness|Sadler|1976|p=55}} It is perhaps the only Palladian house in Ireland built with Palladio's mathematical ratios, and one of a number of Irish mansions which inspired the design of the [[White House]] in [[Washington, D.C.]]<ref name="auto">{{cite web|url=https://www.architecturaldigest.com/story/meet-man-designed-built-white-house|first=Eva|last=Fedderly|title=Meet the Man who Designed and Built the White House|work=[[Architectural Digest]]|date=11 March 2021|access-date=2 July 2022|archive-date=16 August 2022|archive-url=https://web.archive.org/web/20220816080525/https://www.architecturaldigest.com/story/meet-man-designed-built-white-house|url-status=live}}</ref>

Other examples include [[Russborough]], designed by Richard Cassels,{{sfn|MacDonnell|2002|p=77}} who also designed the Palladian [[Rotunda Hospital]] in Dublin and [[Florence Court]] in [[County Fermanagh]].{{sfn|Guinness|Sadler|1976|p=70}} Irish Palladian country houses often feature robust [[Rococo]] plasterwork – an Irish specialty which was frequently executed by the [[Lafranchini brothers]] and far more flamboyant than the interiors of their contemporaries in England.{{sfn|O'Brien|Guinness|1993|pp=246–247}} In the 20th century, during and following the [[Irish War of Independence]] and the subsequent [[Irish Civil War|civil war]], large numbers of [[Destruction of Irish country houses (1919-1923)|Irish country houses]], including some fine Palladian examples such as [[Woodstock Estate|Woodstock House]],<ref>{{cite web|url=https://www.askaboutireland.ie/reading-room/history-heritage/architecture/woodstock-house-co.-kilke/palladian-architecture/|title=Palladian architecture|publisher=Ask About Ireland|access-date=16 July 2022|archive-date=15 September 2022|archive-url=https://web.archive.org/web/20220915053246/https://www.askaboutireland.ie/reading-room/history-heritage/architecture/woodstock-house-co.-kilke/palladian-architecture/|url-status=live}}</ref> were abandoned to ruin or destroyed.{{sfn|MacDonnell|2002|loc=Introduction}}<ref>{{cite web|url=https://www.spectator.co.uk/article/irish-ruins|first=Harry|last=Mount|title=Irish Ruins|work=[[The Spectator]]|date=16 March 2019|access-date=2 July 2022|archive-date=19 April 2023|archive-url=https://web.archive.org/web/20230419012550/https://www.spectator.co.uk/article/irish-ruins/|url-status=live}}</ref><ref>{{cite web|url=https://cshihe.wordpress.com/2020/05/28/the-power-of-ruins/|first=Terence|last=Dooley|title=The Power of Ruins|publisher=Centre for the Study of Historic Irish Houses and Estates (CSHIHE)|date=28 May 2022|access-date=11 July 2022|archive-date=14 April 2023|archive-url=https://web.archive.org/web/20230414232734/https://cshihe.wordpress.com/2020/05/28/the-power-of-ruins/|url-status=live}}</ref>{{refn|Kilboy House, in [[Dolla, County Tipperary]] is a Palladian mansion that first burnt down in 1922. The reconstructed house was again destroyed by fire in 2005<ref>{{cite web|url=https://www.buildingsofireland.ie/buildings-search/building/22402609/kilboy-house-kilboy-kilmore-pr-n-r-tipperary-north|title=Kilboy House|publisher=National Inventory of Architectural Heritage|access-date=23 July 2022|archive-date=28 November 2022|archive-url=https://web.archive.org/web/20221128224531/https://www.buildingsofireland.ie/buildings-search/building/22402609/kilboy-house-kilboy-kilmore-pr-n-r-tipperary-north|url-status=live}}</ref> and was rebuilt in a Palladian style by [[Quinlan Terry]] and his son [[Francis Terry (architect)|Francis]]<ref>{{cite web|url=https://ftanda.co.uk/projects/house-in-ireland/|title=Kilboy House|publisher=Francis Terry and Associates|access-date=23 July 2022|archive-date=23 July 2022|archive-url=https://web.archive.org/web/20220723210357/https://ftanda.co.uk/projects/house-in-ireland/|url-status=live}}</ref> for [[Tony Ryan]], the founder of [[Ryanair]].<ref>{{cite web|url=https://www.independent.ie/irish-news/ryans-to-rebuild-18th-century-mansion-26388256.html|first=Peter|last=Gleeson|title=Ryans to rebuild 18th century mansion|work=[[Irish Independent]]|date=6 April 2006|access-date=23 July 2022|archive-date=23 July 2022|archive-url=https://web.archive.org/web/20220723210000/https://www.independent.ie/irish-news/ryans-to-rebuild-18th-century-mansion-26388256.html|url-status=live}}</ref> [[Country Life (magazine)|Country Life]] described Kilboy as "the greatest new house in Europe".<ref>{{cite web|url=https://www.countrylife.co.uk/publication/country-life/country-life-september-7-2016|first=Agnes|last=Stamp|title=Contents|work=[[Country Life (magazine)|Country Life]]|date=7 September 2016|access-date=24 July 2022|archive-date=14 August 2022|archive-url=https://web.archive.org/web/20220814130348/https://www.countrylife.co.uk/publication/country-life/country-life-september-7-2016|url-status=live}}</ref><ref>{{cite web|url=https://www.garlandconsultancy.com/our-projects/conservation-and-restoration/kilboy-house.html|title=Kilboy House|publisher=Garland Consultants|access-date=23 July 2022|archive-date=8 December 2021|archive-url=https://web.archive.org/web/20211208035757/https://www.garlandconsultancy.com/our-projects/conservation-and-restoration/kilboy-house.html|url-status=live}}</ref>|group=n}}

=== North American Palladian architecture ===
[[File:Hammond-Harwood House (Md. Ave. Facade).jpg|thumb|right|[[Hammond-Harwood House]] (1774) – modelled after the [[Villa Pisani (Montagnana)|Villa Pisani]] from ''I quattro libri dell'architettura''|alt=See caption]]
Palladio's influence in North America is evident almost from its first architect-designed buildings.{{refn|A brief survey is [[Robert Tavernor]], "Anglo-Palladianism and the birth of a new nation" in ''Palladio and Palladianism'', (1991), pp.181–209; [[Walter Muir Whitehill]], ''Palladio in America'', (1978) is still the standard work.|group=n}} The Irish philosopher [[George Berkeley]], who may be America's first recorded Palladian, bought a large farmhouse in [[Middletown, Rhode Island|Middletown]], [[Rhode Island]], in the late 1720s, and added a Palladian doorcase derived from Kent's ''Designs of Inigo Jones'' (1727), which he may have brought with him from London.{{sfn|Gaustad|1979|p=70}} Palladio's work was included in the library of a thousand volumes amassed for [[Yale College]].{{sfn|Gaustad|1979|p=86}} [[Peter Harrison (architect)|Peter Harrison]]'s 1749 designs for the [[Redwood Library and Athenaeum|Redwood Library]] in [[Newport, Rhode Island|Newport]], [[Rhode Island]], borrow directly from Palladio's ''I quattro libri dell'architettura'', while his plan for the Newport Brick Market, conceived a decade later, is also Palladian.<ref>{{cite web |publisher= [[The Center for Palladian Studies in America, Inc.]] |url=http://www.palladiancenter.org/patternbooks.html |title= Building America |archive-url=https://web.archive.org/web/20091223094953/http://www.palladiancenter.org/patternbooks.html |archive-date=23 December 2009|access-date=2 July 2022 |year= 2009}}</ref>

Two colonial period houses that can be definitively attributed to designs from ''I quattro libri dell'architettura'' are the [[Hammond-Harwood House]] (1774) in [[Annapolis, Maryland]], and [[Thomas Jefferson]]'s first [[Monticello]] (1770). Hammond-Harwood was designed by the architect [[William Buckland (architect)|William Buckland]] in 1773–1774 for the wealthy farmer Matthias Hammond of [[Anne Arundel County]], Maryland. The design source is the Villa Pisani,<ref>{{cite web |publisher=[[The Center for Palladian Studies in America, Inc.]] |url=http://www.palladiancenter.org/timeline-Palladianism.html |title= Palladio and English-American Palladianism |archive-url=https://web.archive.org/web/20091023050942/http://www.palladiancenter.org/timeline-Palladianism.html |archive-date=23 October 2009|access-date=2 July 2022 |year=2009}}</ref> and that for the first Monticello, the [[Villa Cornaro]] at [[Piombino Dese]].<ref>{{cite web|url=https://www.latimes.com/archives/la-xpm-2008-nov-30-ca-palladio30-story.html|first=Christopher|last=Hawthorne|title=A very fine Italian House|work=[[Los Angeles Times]]|date=30 November 2008|access-date=19 June 2022|archive-date=19 June 2022|archive-url=https://web.archive.org/web/20220619171848/https://www.latimes.com/archives/la-xpm-2008-nov-30-ca-palladio30-story.html|url-status=live}}</ref> Both are taken from Book II, Chapter XIV of ''I quattro libri dell'architettura''.<ref>{{cite web|url=https://ejhyipi5ip4.exactdn.com/wp-content/uploads/2019/09/hammondharwood_tour.pdf|first=Sarah B.|last=Benson|title=Hammond-Harwood House Architectural Tour|page=7|publisher=[[Hammond-Harwood House]] Museum|access-date=19 June 2022|archive-date=15 June 2022|archive-url=https://web.archive.org/web/20220615015032/https://ejhyipi5ip4.exactdn.com/wp-content/uploads/2019/09/hammondharwood_tour.pdf|url-status=live}}</ref> Jefferson later made substantial alterations to Monticello, known as the second Monticello (1802–1809),<ref>{{cite web|url=https://www.monticello.org/house-gardens/the-house/house-faqs/|title=Monticello House and Garden FAQs|publisher=Monticello.org|access-date=3 July 2022|archive-date=20 June 2022|archive-url=https://web.archive.org/web/20220620000942/https://www.monticello.org/house-gardens/the-house/house-faqs/|url-status=live}}</ref> making the Hammond-Harwood House the only remaining house in North America modelled directly on a Palladian design.<ref>{{cite web|url=https://sah-archipedia.org/buildings/MD-01-003-0010|title=Hammond-Harwood House|date=17 July 2018|publisher=[[Society of Architectural Historians]]|access-date=16 July 2022|archive-date=6 July 2022|archive-url=https://web.archive.org/web/20220706062634/https://sah-archipedia.org/buildings/MD-01-003-0010|url-status=live}}</ref><ref>{{cite web|url=http://www.hammondharwoodhouse.org/index.php?id=33|title=The Palladian Connection|publisher=[[Hammond-Harwood House]]|access-date=2 December 2011|archive-date=2 February 2014|archive-url=https://web.archive.org/web/20140202114439/http://www.hammondharwoodhouse.org/index.php?id=33|url-status=live}}</ref>
[[File:Thomas Jefferson's Monticello.JPG|thumb|left|Thomas Jefferson's "second" [[Monticello]] (1772)|alt=See caption]]
Jefferson referred to ''I quattro libri dell'architettura'' as his [[bible]].{{refn|An exhibition, ''Jefferson and Palladio: Constructing a New World'' was held at the Palladio Museum in [[Vicenza]] in 2015–2016. The exhibition was dedicated to [[Valmarana family|Mario Valmarana]], Professor of Architecture at the [[University of Virginia]] and a descendant of the family who commissioned Palladio to design the [[Villa Valmarana (Lisiera)|Villa Valmarana]].<ref>{{cite web|url=https://www.palladiomuseum.org/exhibitions/jefferson/333?lang=en|title=Jefferson and Palladio: Constructing a New World|publisher=Palladio Museum|access-date=26 June 2022|archive-date=28 May 2022|archive-url=https://web.archive.org/web/20220528131523/https://www.palladiomuseum.org/exhibitions/jefferson/333?lang=en|url-status=live}}</ref><ref>{{cite web|url=https://www.ribapix.com/Villa-Valmarana-Lisiera_RIBA53447|title=Villa Valmarana, Lisiera|publisher=[[Royal Institute of British Architects]]|access-date=26 June 2022|archive-date=26 June 2022|archive-url=https://web.archive.org/web/20220626081516/https://www.ribapix.com/Villa-Valmarana-Lisiera_RIBA53447|url-status=live}}</ref>|group=n}} Although a statesman, his passion was architecture,{{sfn|Guinness|Sadler|1976| pp=139–141}} and he developed an intense appreciation of Palladio's architectural concepts; his designs for the [[James Barbour]] [[Barboursville (James Barbour)|Barboursville]] estate, the [[Virginia State Capitol]], and the [[University of Virginia]] campus were all based on illustrations from Palladio's book.{{sfn|De Witt|Piper|2019|p=1}}<ref>{{cite web|url=https://www.loc.gov/exhibits/thomas-jeffersons-library/interactives/palladio-architecture/|title=Thomas Jefferson's Library – The architecture of A. Palladio|publisher=[[Library of Congress]]|access-date=26 June 2022|archive-date=16 August 2022|archive-url=https://web.archive.org/web/20220816074222/https://www.loc.gov/exhibits/thomas-jeffersons-library/interactives/palladio-architecture/|url-status=live}}</ref>{{refn|In a letter to James Oldham, dated Christmas Eve 1804, Jefferson wrote, "there never was a Palladio here even in private hands until I brought one. I send you my portable edition. It contains only the 1st book on the [[Classical order|orders]], which is the essential part".<ref>{{cite web|url=https://tjrs.monticello.org/letter/1820|title=Extract from Thomas Jefferson to James Oldham|date=24 December 1804|access-date=2 July 2022|publisher=Monticello.org|archive-date=3 July 2022|archive-url=https://web.archive.org/web/20220703062858/https://tjrs.monticello.org/letter/1820|url-status=live}}</ref>|group=n}} Realising the political significance of ancient Roman architecture to the fledgling American Republic, Jefferson designed his civic buildings, such as [[The Rotunda (University of Virginia)|The Rotunda]],{{sfn|Farber|Reed|1980|p=107}} in the Palladian style, echoing in his buildings for the [[Republicanism in the United States|new republic]] examples from the [[Roman Republic|old]].{{sfn|Tavernor|1991|p=188}}

In [[Virginia]] and the [[Carolinas]], the Palladian style is found in numerous [[Plantation complexes in the Southeastern United States#Plantation house|plantation house]]s, such as [[Stratford Hall Plantation|Stratford Hall]],{{sfn|Guinness|Sadler|1976|p=121}} [[Westover Plantation]]{{sfn|Guinness|Sadler|1976|p=127}} and [[Drayton Hall]].{{sfn|Guinness|Sadler|1976|p=84}} Westover's north and south entrances, made of imported English [[Portland stone]], were patterned after a plate in William Salmon's ''Palladio Londinensis'' (1734).{{sfn|Severens|1981|p=37}}{{refn|Specifically, both doors seem to have been derived from plates XXV and XXVI of ''Palladio Londinensis'', a builder's guide first published in London in 1734, the year when the doorways may have been installed.{{sfn|Morrison|1952|p=340}}|group=n}} The distinctive feature of Drayton Hall, its two-storey portico, was derived from Palladio,{{sfn|Severens|1981|p=38}} as was [[Mount Airy, Richmond County, Virginia|Mount Airy]], in [[Richmond County, Virginia]], built in 1758–1762.{{sfn|Guinness|Sadler|1976|pp=107–111}} A particular feature of American Palladianism was the re-emergence of the great portico which, as in Italy, fulfilled the need of protection from the sun; the portico in various forms and size became a dominant feature of American colonial architecture. In the north European countries the portico had become a mere symbol, often closed, or merely hinted at in the design by pilasters, and sometimes in very late examples of English Palladianism adapted to become a [[porte-cochère]]; in America, the Palladian portico regained its full glory.<ref>{{cite web|url=https://www.nbm.org/palladio-legacy-transatlantic-journey/|first=Calder|last=Loth|title=Palladio and his legacy – a transatlantic journey|publisher=[[National Building Museum]]|date=10 August 2010|access-date=2 July 2022|archive-date=28 June 2022|archive-url=https://web.archive.org/web/20220628030930/https://www.nbm.org/palladio-legacy-transatlantic-journey/|url-status=live}}</ref>
[[File:University of Virginia Rotunda in 2006.jpg|thumb|right|[[The Rotunda (University of Virginia)|The Rotunda]], [[University of Virginia]] (1822–1826)|alt=See caption]]

[[The White House]] in Washington, D.C., was inspired by Irish Palladianism.<ref name="auto"/> Its architect [[James Hoban]], who built the executive mansion between 1792 and 1800, was born in [[Callan, County Kilkenny|Callan]], [[County Kilkenny]], in 1762, the son of tenant farmers on the estate of [[Desart Court]], a Palladian House designed by Pearce.<ref>{{cite web|title=Co. Kilkenney, Desart Court|publisher=Dictionary of Irish Architects|url=https://www.dia.ie/works/view/13450/building/CO.+KILKENNY,+DESART+COURT|access-date=23 July 2022|archive-date=23 July 2022|archive-url=https://web.archive.org/web/20220723085447/https://www.dia.ie/works/view/13450/building/CO.+KILKENNY,+DESART+COURT|url-status=live}}</ref> He studied architecture in Dublin, where [[Leinster House]] (built {{circa|1747}}) was one of the finest Palladian buildings of the time.<ref name="auto"/> Both Cassel's Leinster House and [[James Wyatt]]'s [[Castle Coole]] have been cited as Hoban's inspirations for the White House but the more [[Neoclassical architecture|neoclassical]] design of that building, particularly of the South façade which closely resembles Wyatt's 1790 design for Castle Coole, suggests that Coole is perhaps the more direct [[progenitor]]. The architectural historian [[Gervase Jackson-Stops]] describes Castle Coole as "a culmination of the Palladian traditions, yet strictly neoclassical in its chaste ornament and noble austerity",{{sfn|Jackson-Stops|1990|p=106}} while Alistair Rowan, in his 1979 volume, ''North West Ulster'', of the [[Pevsner Architectural Guides|Buildings of Ireland]] series, suggests that, at Coole, Wyatt designed a building, "more massy, more masculine and more totally liberated from Palladian practice than anything he had done before."{{sfn|Rowan|1979|p=176}}

Because of its later development, Palladian architecture in Canada is rarer. In her 1984 study, ''Palladian Style in Canadian Architecture'', Nathalie Clerk notes its particular impact on public architecture, as opposed to the private houses in the United States.{{sfn|Clerk|1984|p=5}} One example of historical note is the [[Province House (Nova Scotia)|Nova Scotia Legislature building]], completed in 1819.<ref>{{cite web |url=https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=14222&pid=0 |title=Province House National Historic Site of Canada |publisher=[[Canadian Register of Historic Places]] |access-date=19 June 2022 |archive-date=2 July 2022 |archive-url=https://web.archive.org/web/20220702194201/https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=14222&pid=0 |url-status=live }}</ref> Another example is [[Government House (Newfoundland and Labrador)|Government House]] in [[St. John's, Newfoundland]].<ref>{{cite web |url= https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13399&pid=0 |title= Government House National Historic Site of Canada |publisher= [[Canadian Register of Historic Places]] |access-date= 19 June 2022 |archive-date= 2 July 2022 |archive-url= https://web.archive.org/web/20220702194558/https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=13399&pid=0 |url-status= live }}</ref>

===Palladianism elsewhere===
[[File:Berlin - Staatsoper Unter den Linden.jpg|thumb|right|[[Berlin State Opera|Berlin Opera House (1743)]]|alt=See caption]]
The rise of neo-Palladianism in England contributed to its adoption in [[Prussia]]. Count [[Francesco Algarotti]] wrote to Lord Burlington to inform him that he was recommending to [[Frederick the Great]] the adoption in his own country of the architectural style Burlington had introduced in England.{{sfn|Lees-Milne|1986|p=120}} By 1741, [[Georg Wenzeslaus von Knobelsdorff]] had already begun construction of the [[Berlin State Opera|Berlin Opera House]] on the [[Unter den Linden]], based on Campbell's [[Wanstead House]].<ref>{{cite web|url=https://wansteadpark.org.uk/wp-content/uploads/2020/12/The-Architecture-of-Wanstead-House-Part4.pdf|first=Ray|last=Weekes|title=The Architecture of Wansted House|access-date=20 June 2022|archive-date=5 August 2022|archive-url=https://web.archive.org/web/20220805153630/https://wansteadpark.org.uk/wp-content/uploads/2020/12/The-Architecture-of-Wanstead-House-Part4.pdf|url-status=live}}</ref>

Palladianism was particularly adopted in areas under [[British Empire|British colonial rule]]. Examples can be seen in the [[Indian subcontinent]]; the [[Raj Bhavan, Kolkata]] (formerly Government House) was modelled on [[Kedleston Hall]],{{sfn|Metcalf|1989|p=12}} while the architectural historian Pilar Maria Guerrieri identifies its influences in [[Lutyens' Delhi]].{{sfn|Guerrieri|2021|pp=4–7}} In South Africa, Federico Freschi notes the "[[Tuscan order|Tuscan]] [[colonnade]]s and Palladian windows" of [[Herbert Baker]]'s [[Union Buildings]].{{sfn|Freschi|2017|p=65}}

== Legacy ==
[[File:HenburyHall2015-2.JPG|thumb|left|[[Henbury Hall, Cheshire]] (1986) – 20th century Palladianism modelled on the [[Villa Capra]]<ref name=ApolloCheshire/>|alt=See caption]]
By the 1770s, British architects such as [[Robert Adam]] and [[William Chambers (architect)|William Chambers]] were in high demand, but were now drawing on a wide variety of classical sources, including from [[ancient Greece]], so much so that their forms of architecture became defined as neoclassical rather than Palladian.{{sfn|Curl|2016|pp=6–7}}{{sfn|Curl|2016|p=161}} In Europe, the Palladian revival ended by the close of the 18th century. In the 19th century, proponents of the [[Gothic Revival architecture|Gothic Revival]] such as [[Augustus Pugin]], remembering the origins of Palladianism in ancient temples, considered it pagan, and unsuited to Anglican and Anglo-Catholic worship.{{sfn|Frampton|2001|p=36}}<ref>{{cite web|url=https://www.english-heritage.org.uk/learn/story-of-england/georgians/architecture/|title=Georgians: Architecture|publisher=English Heritage|access-date=10 July 2022|archive-date=10 July 2022|archive-url=https://web.archive.org/web/20220710174407/https://www.english-heritage.org.uk/learn/story-of-england/georgians/architecture/|url-status=live}}</ref>{{refn|In ''Contrasts'', his trumpet blast against Classical architectural forms, Pugin quotes approvingly from [[Charles Forbes René de Montalembert]]; "modern Catholics have formed the types of their churches from the detestable models of pagan error, raising temples in imitation of the [[Parthenon]] and the [[Pantheon, Rome|Pantheon]], representing the Eternal Father under the semblance of [[Jupiter (mythology)|Jupiter]], the blessed [[Mary, mother of Jesus|Virgin]] as a draped [[Venus (mythology)|Venus]], saints as amorous [[nymph]]s and angels in the form of [[Cupid]]s."{{sfn|Charlesworth|2002|p=112}}|group=n}} In North America, Palladianism lingered a little longer; Thomas Jefferson's floor plans and elevations owe a great deal to Palladio's ''I quattro libri dell'architettura.''{{sfn|Curl|2016|pp=393–394}}

The term ''Palladian'' is often misused in modern discourse and tends to be used to describe buildings with any classical pretensions.<ref>{{cite web|url=https://washingtonmonthly.com/2022/01/17/the-growing-blight-of-infill-mcmansions/|first=Mike|last=Lofgren|title=The growing blight of infill McMansions|work=[[Washington Monthly]]|date=17 January 2022|access-date=2 July 2022|archive-date=28 May 2022|archive-url=https://web.archive.org/web/20220528134923/https://washingtonmonthly.com/2022/01/17/the-growing-blight-of-infill-mcmansions/|url-status=live}}</ref><ref>{{cite web|url=https://www.theguardian.com/artanddesign/2009/feb/01/andrea-palladio-royal-academy-review|first=Stephen|last=Bayley|title=Endlessly copied but never bettered|work=[[The Guardian]]|date=1 February 2009|access-date=2 July 2022|archive-date=26 June 2022|archive-url=https://web.archive.org/web/20220626210433/https://www.theguardian.com/artanddesign/2009/feb/01/andrea-palladio-royal-academy-review|url-status=live}}</ref> There was a revival of a more serious Palladian approach in the 20th century when [[Colin Rowe]], an influential architectural theorist, published his essay, ''The Mathematics of the Ideal Villa'', (1947), in which he drew links between the compositional "rules" in Palladio's villas and [[List of Le Corbusier buildings|Le Corbusier's villas]] at Poissy and Garches.<ref>{{cite web|url=https://www.architectural-review.com/archive/the-mathematics-of-the-ideal-villa-palladio-and-le-corbusier-compared|first=Colin|last=Rowe|title=The Mathematics of the Ideal Villa, Palladio and Le Corbusier compared|work=[[Architectural Review]]|date=31 March 1947|access-date=26 June 2022|archive-date=15 May 2022|archive-url=https://web.archive.org/web/20220515073233/https://www.architectural-review.com/archive/the-mathematics-of-the-ideal-villa-palladio-and-le-corbusier-compared|url-status=live}}</ref>{{sfn|Curl|2016|p=658}} Suzanne Walters' article ''The Two Faces of Modernism'' suggests a continuing influence of Palladio's ideas on architects of the 20th century.<ref>{{cite web|url=https://www.ribapix.com/the-two-faces-of-modernism|first=Suzanne|last=Waters|title=The Two Faces of Modernism|publisher=[[RIBA]]|access-date=25 June 2022|archive-date=25 June 2022|archive-url=https://web.archive.org/web/20220625175201/https://www.ribapix.com/the-two-faces-of-modernism|url-status=live}}</ref>{{refn|Examples include [[Peter Zumthor]]'s Secular Retreat in Devon, a "countryside villa in the tradition of Andrea Palladio",<ref>{{cite web|url=https://www.dezeen.com/2018/10/29/peter-zumthor-secular-retreat-living-architecture-villa-devon/|first=Amy|last=Frearson|title=Peter Zumthor completes Devon countryside villa in the tradition of Andrea Palladio|work=[[Dezeen]]|date=29 October 2018|access-date=2 July 2022|archive-date=2 July 2022|archive-url=https://web.archive.org/web/20220702094557/https://www.dezeen.com/2018/10/29/peter-zumthor-secular-retreat-living-architecture-villa-devon/|url-status=live}}</ref> and [[Julian Bicknell]]'s [[Henbury Hall]] in [[Cheshire]].<ref name=ApolloCheshire>{{cite web|url=https://www.apollo-magazine.com/julian-bicknell-henbury-hall-neopalladianism/|first=Timothy|last=Brittain-Catlin|title=When Palladio came to Cheshire – in the 1980s|work=[[Apollo (magazine)|Apollo]]|date=19 December 2019|access-date=2 July 2022|archive-date=5 July 2022|archive-url=https://web.archive.org/web/20220705072850/https://www.apollo-magazine.com/julian-bicknell-henbury-hall-neopalladianism/|url-status=live}}</ref>|group=n}} In the 21st century Palladio's name regularly appears among the world's most influential architects.<ref>{{cite web|url=https://www.theguardian.com/artanddesign/2009/jan/05/architect-andrea-palladio|first=Jonathan|last=Glancy|title=The stonecutter who shook the world|work=The Guardian|date=9 January 2009|access-date=11 July 2022|archive-date=11 July 2022|archive-url=https://web.archive.org/web/20220711161719/https://www.theguardian.com/artanddesign/2009/jan/05/architect-andrea-palladio|url-status=live}}</ref><ref>{{cite web|url=https://historynewsnetwork.org/article/59597|title=Andrea Palladio: the man who made ancient modern|publisher=George Washington University|date=1 October 2009|access-date=11 July 2022|archive-date=9 December 2022|archive-url=https://web.archive.org/web/20221209045229/https://historynewsnetwork.org/article/59597|url-status=live}}</ref><ref>{{cite web|url=https://www.bbc.co.uk/news/magazine-34143566|first=Paul|last=Kerley|title=Palladio: The architect who inspired our love of columns|publisher=[[BBC News]]|date=10 September 2015|access-date=19 July 2022|archive-date=13 August 2022|archive-url=https://web.archive.org/web/20220813221817/https://www.bbc.co.uk/news/magazine-34143566|url-status=live}}</ref> In England, [[Raymond Erith]] (1904–1973) drew on Palladian inspirations, and was followed in this by his pupil, subsequently partner, [[Quinlan Terry]].<ref>{{cite web|url=https://spearswms.com/interview-architect-quinlan-terrys-back-classics-march/|first=Flora|last=Neville|title=Interview with Quinlan Terry|publisher=Spears|date=23 March 2017|access-date=2 July 2022|archive-date=1 July 2022|archive-url=https://web.archive.org/web/20220701195959/https://spearswms.com/interview-architect-quinlan-terrys-back-classics-march/|url-status=live}}</ref> Their work, and that of others,<ref name=ApolloCheshire/> led the architectural historian [[John Martin Robinson]] to suggest that "the ''Quattro Libri'' continues as the fountainhead of at least one strand in the [[English country house]] tradition."{{sfn|Robinson|1983|p=173}}{{refn|The Palladian inspiration for modern British architects has not always been appreciated. In an article in ''[[Apollo (magazine)|Apollo]]'' entitled "The curse of Palladio", the critic [[Gavin Stamp]] critiqued Erith and Terry's work as "photocopy-Palladian, classical details stuck onto dull boxes".<ref>{{cite web|url=https://go.gale.com/ps/i.do?p=AONE&u=googlescholar&id=GALE%7CA124941584&v=2.1&it=r&sid=AONE&asid=75a96d9e|first=Gavin|last=Stamp|title=The curse of Palladio|work=[[Apollo (magazine)|Apollo]]|date=November 2004|access-date=2 July 2022|archive-date=14 April 2023|archive-url=https://web.archive.org/web/20230414232734/https://go.gale.com/ps/i.do?p=AONE&u=googlescholar&id=GALE%7CA124941584&v=2.1&it=r&sid=AONE&asid=75a96d9e|url-status=live}}</ref>|group=n}}{{refn|The continuing Palladian influence in North America has also drawn criticism. The critic [[Stephen Bayley]], in a review of the 2009 Palladio exhibition at the [[Royal Academy]], wrote of "American realtors describ(ing) any dire Miami [[McMansion]] with a classical portico and the odd [[volute]] as ''Palladian''."<ref>{{cite web|url=https://www.theguardian.com/artanddesign/2009/feb/01/andrea-palladio-royal-academy-review|first=Stephen|last=Bayley|title=Endlessly copied, but never bettered|work=[[The Observer]]|date=1 February 2009|access-date=23 July 2022|archive-date=26 June 2022|archive-url=https://web.archive.org/web/20220626210433/https://www.theguardian.com/artanddesign/2009/feb/01/andrea-palladio-royal-academy-review|url-status=live}}</ref>|group=n}}

==See also==
{{portal|Architecture}}
* [[City of Vicenza and the Palladian Villas of the Veneto]]
* [[New Classical architecture]]
* [[Giacomo Quarenghi]]
* [[Riviera del Brenta]]

==Notes, references and sources==
===Notes===
{{Reflist|group=n}}

===References===
{{Reflist}}

===Sources===
{{Refbegin|colwidth=30em|indent=yes}}
* {{cite book
|last=Ackerman
|first=James S.
|title=Palladio
|url=https://books.google.com/books?id=NNwfvs21hKYC&q=james+ackerman+palladio
|year=1991
|location=Harmondsworth, UK
|publisher=[[Penguin Books]]
|isbn=978-0-141-93638-3
|access-date=19 March 2023
|archive-date=5 May 2023
|archive-url=https://web.archive.org/web/20230505090942/https://books.google.com/books?id=NNwfvs21hKYC&q=james+ackerman+palladio
|url-status=live
}}
* {{cite book
|last=Bold|first=John
|title=Wilton House and English Palladianism
|year=1988
|location=London
|publisher=[[HMSO]]
|isbn=978-0-113-00022-7
}}
* {{cite book
|last=Casey | first = Christine
|title=Dublin
|series=[[Pevsner Architectural Guides|Buildings of Ireland]]
|year=2005
|location=New Haven, US and London
|publisher=[[Yale University Press]]
|isbn=978-0-300-10923-8
}}
* {{cite book
|last=Chaney
|first=Edward
|author-link=Edward Chaney
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}}
{{refend}}

== External links ==
{{commons category}}
{{EB1911 poster|Palladian}}
* [http://www.palladiancenter.org Center for Palladian Studies in America]
* [https://worcestercollegelibrary.wordpress.com/tag/inigo-jones/ Inigo Jones document collection at Worcester College, Oxford]
* [https://web.archive.org/web/20061003100510/http://www.cisapalladio.org/index.php?lingua=e International centre for the study of the architecture of Andrea Palladio (CISA)] {{in lang|en|it}}
* [http://www.iath.virginia.edu/wilson/home.html Thomas Jefferson's architecture] {{Webarchive|url=https://web.archive.org/web/20150806043447/http://www2.iath.virginia.edu/wilson/home.html |date=6 August 2015 }}
* [https://sgarchi.wordpress.com/2020/05/26/neo-palladian-architecture/ Article on Palladian architecture in colonial Singapore, published by the Department of Architecture and Urban Planning]

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