Chapter VII: Palace Architecture of the Roman Renaissance

The Cancellaria--Its attribution to Bramante--Exhibits features
in further conformity with the Roman antique--Its pilasters in
pairs--Its projecting bays--Its portals--Arcades of its
court--The Palazzo Massimi--The functional order of its
portico--Treatment of the upper façade--The Palazzo
Farnese--Application of orders and pediments to the
windows--The broken entablatures of these windows--An ancient
example of similar treatment--Orders of the court--Awkward
result in the angles--Rhythmical scheme of the cloister of
Santa Maria della Pace--Lack of reason for this scheme--The
architect Sansovino--His design for the Library of St. Mark
at Venice--Treatment of the angles of the Doric
order--Free-standing column in the order of the upper
story--Sansovino’s design for the Loggetta of the
Campanile--His design for the Palazzo Cornaro--Sanmichele--His
design for the Porta del Palio at Verona--His design for the
Palazzo Canossa--The Palazzo Pompei alla Vittoria--The Palazzo
Bevilacqua--Its singular aberrations of design--Vignola’s
design for the Palazzo Caprarola--Influence of its circular
court on De l’Orme and Inigo Jones--The civic and domestic
architecture of Palladio--The Portico of Vicenza--Its derivation
from the town hall of Padua and from the Library of St.
Mark--Syrian instance of the free-standing column in connection
with the arch--Palladio’s own estimate of the merits of this
design--Use of poor materials by Palladio--His versatility in
meaningless composition--His palace fronts--Palladio a
grammatical formalist--The art of Scamozzi--His use of an
entablature broken by an arch 112