Branko Mitroviü Andrea Palladio’s Villa Cornaro in Piombino Dese As for many of Palladio’s buildings, modern surveys of the Villa Cornaro in Piombino Dese do not exist, are incomplete, omit information about important aspects such as the use of the classical orders, or have been published without dimensions indicated in the plans. The analysis presented here is based on a June 2003 survey of the villa made by Steve Wassell, Tim Ross, Melanie Burke, and author Branko Mitroviü. In his treatise, Palladio listed his preferred room types: circular, square or rectangular with length-to-width ratios 2/1, 3/2, 4/3, 5/3 or 2/1. Half a century ago, this kind of speculative search for the comprehensive interpretation of Palladio’s proportional system received great impetus from Rudolf Wittkower’s Architectural Principles in the Age of Humanism. It is, however, important to differentiate between the derivation of certain proportional rules and their explanation. Wittkower asserted that the use of ornamentation—and especially the orders—did not matter in Palladio’s design process. Refuting this theory, Mitroviü argues that Palladio, in the early 1550, formulated a very different approach to the use of the orders, combining the principle of preferred room proportions and the use of a columnar system to determine the placement of walls. The proportions of the main sala and porticos are derived on the basis of the proportional rules for the order used; the proportions of the side rooms on the basis of preferred ratios. Ultimately, the result is that the mathematics of the orders became decisive for Palladio’s design principles and the use of proportions from the early 1550s. Villa Cornaro in Piombino Dese is one of Andrea Palladio’s most influential works (Figs. 1 and 2).1 The villa is probably the earliest of his designs to incorporate a pedimented portico separated from the main block of the building—a paradigm whose invention is often associated with Palladio and which has had a huge impact on world architecture for the past four centuries. The villa was designed in the winter of 1551-1552 and its main block with the exception of the side wings was inhabited by 1554 [Lewis 1972; 1975]. The side wings were completed only in 1596 by Vincenzo Scamozzi, although they appear in Palladio’s presentation of the villa in his treatise, The Four Books on Architecture (Fig. 3) [Palladio 1990, 1997]. Douglas Lewis, who has done considerable research on the villa’s building history, has managed to find documentation which indicates that the central block of the villa was constructed under close supervision of the architect—a fact which makes the villa a particularly important piece of evidence for the study of Palladio’s design theory [Lewis 1972, 384-385]. The early 1550s, when the villa was designed and built, were a turning point in Palladio’s approach to design. Through the 1540s most of his works were villas for Vicentine nobles, in which he generally avoided the use of the classical orders or used them unsystematically. But shortly before the Cornaro project, in the late 1540s and early 1550s, while working on the Basilica and the Palazzo Chiericati, Palladio started using the orders not only as façade ornamentation but as the organizing principle of the entire spatial composition of the buildings he designed. Villa Cornaro is thus among the first buildings whose design was NEXUS NETWORK JOURNAL – VOL.6, NO. 2, 2004 15 derived from an approach which emerges after 1550 and derives from a set of complex mathematical considerations. My analysis here will be based on a recent survey of the villa made by Steve Wassell, Tim Ross, Melanie Burke and myself in June 2003. Fig. 1. Villa Cornaro in Piombino Dese, rear (photo/author) Fig. 2.Villa Cornaro in Piombino Dese, front (photo/author) The Four Books on Architecture, Palladio’s architectural treatise, which came out in 1570, almost twenty years after Villa Cornaro was designed, is still the most important source for the study of the Vicentine architect’s design theory. This may seem paradoxical, considering that Palladio was the most prolific of all great Renaissance architects, and that a great number of the buildings he designed still stand. However, for many of these buildings modern surveys do not exist, are incomplete, omit information about important aspects such as the use of the classical orders, or have been published without dimensions indicated in the plans. 16 BRANKO MITROVIû – Andrea Palladio’s Villa Cornaro in Piombino Dese Fig. 3. Villa Cornaro - Palladio's presentation in the Four Books NEXUS NETWORK JOURNAL – VOL.6, NO. 2, 2004 17 The most comprehensive—and I would also argue the most reliable—publicly available set of surveys even today is the one published by Ottavio Bertotti-Scamozzi in the eighteenth century [1968, 1998]. Bertotti-Scamozzi’s surveys cover all—or almost all—of Palladio’s known opus. Insofar as I have been able to check and compare them with modern surveys, the data he provided tend to be reasonably accurate [Mitroviü 2004, 194-197]. He did, however, have a passion for presenting Palladio’s unfinished works as if they had been completed—and was even sometimes prone to invent the manner in which they should have been completed. When working with Ottavio Bertotti-Scamozzi’s surveys it is always necessary to separate the products of his imagination from the segments of Palladio’s works which were really built—but this can be done, and once it is done his surveys become a reliable tool.2 In his treatise, Palladio listed his preferred room types: circular, square or rectangular with length-to-width ratios 2/1, 3/2, 4/3, 5/3 or 2/1 [Palladio 1997, 1.52]. This list is commonly referred to as the list of Palladio’s preferred room length/width ratios. Its interpretation and implications have been in the center of debates within Palladian scholarship for the past 50 years.3 In the second book of his treatise Palladio presented plans of forty-four buildings he designed; in these plans, room length-to-width ratios have been indicated for 153 rooms.4 Eighty-nine of these 153 ratios—or 55%—indeed correspond to the ratios from Palladio’s list. An analysis of the remaining 45% shows that some other proportional systems were used by the architect as well. The ratio 3/1 appears in a number of plans—most prominently in the plan of the Rotonda—as 3 3 2 well as ratios such as 3 /1, 2 /1 , and 2 /1 [Mitroviü 2004, 65-70]. One may be tempted to speculate, but it would be impossible to prove, whether there could have existed some background theory which would have motivated the architect’s choice of individual ratios, both those stated in the list and those not mentioned explicitly, but implicitly indicated in the plans of Palladio’s buildings presented in the treatise. Could such a theory account for the remaining 45% of ratios which cannot be explained by Palladio’s list? For instance, all three ratios I have just mentioned, 3 3 2 3 /1, 2 /1 , and 2 /1 , as well as one ratio from the list of preferred ratios, 2/1, can be seen as cube-derived. 2/1 is the diagonal-to-side ratio of a square, 3/1 is diagonal-to-side ratio of a 3 3 2 cube. 2 /1 and 2 /1 are the solutions to the Delian problem of doubling the cube: if a is a 3 3 2 side of a given cube, 2 /1 will be the side of the cube which has twice its volume and 2 /1 will be the ratio of the side areas of these two cubes. The Delian problem and methods for solving it were known to Palladio—for instance, they are discussed in Daniele Barbaro’s commentary on Vitruvius on which Palladio collaborated [Barbaro 1987, 352-366]. It can be entertaining to speculate about the significance of the choice of certain ratios. The Delian problem—to double the size of a cubic altar in his temple—was given to the Delians by Apollo as the condition of his relieving them from plague. As it happens, the plans of the Rotonda published by Palladio in his treatise are really derived from a 3 based system, but, if the available surveys are of any value, the proportions of the Rotonda as executed correspond to those of Delian cubes. At the level of speculation one might even argue that the Rotonda was built as an altar to Apollo. Half a century ago, this kind of speculative search for the comprehensive interpretation of Palladio’s proportional system received great impetus from Rudolf Wittkower’s Architectural Principles in the Age of Humanism—arguably the most influential twentieth-century book on Renaissance architectural theory.5 Wittkower suggested that Palladio’s choice of length/width ratios was derived from musical theory. He referred to the fact that ratios of certain musical 18 BRANKO MITROVIû – Andrea Palladio’s Villa Cornaro in Piombino Dese intervals correspond to numerical relationships between the lengths of strings on a monochord. For instance, the ratio 2/1 is the octave, 3/2 is the fifth, 4/3 is the fourth, and so on. Traditionally, the discovery of relationship between individual numerical relationships and musical intervals was ascribed to Pythagoras; later in classical antiquity this led to the development of an extensive system of speculations which some historians have named “the Great Theory”. The concepts musica mundana and harmonia mundi relied on the assumption that the same relationships which determine musical intervals also determine the movements of stars and, through astrological influences, affect the events on Earth.