Tempietto di San Pietro in Montorio, Rome, 1502, by Bramante. This small temple marks the place where St Peter was put to death
Coffered ceiling of the barrel-vaulted nave in the Temple of Jupiter at Diocletian's Palace in Split, Croatia. Built early 4th century.
Temple of Vesta, Rome, 205 AD. As one of the most important temples of Ancient Rome, it became the model for Bramante's Tempietto
Nave of Lisbon Cathedral with a barrel vaulted soffit. Note the absence of clerestory windows, all of the light being provided by the Rose window at one end of the vault.
Palladio's engraving of Bramante's Tempietto
The Cloisters, New York City
Plan of Bramante's Tempietto in Montorio
Roman barrel vault at the villa rustica Bad Neuenahr-Ahrweiler, Germany.
The Piazza del Campidoglio
Pointed barrel vault showing direction of lateral forces.
The Romanesque Florence Baptistery was the object of Brunelleschi's studies of perspective
Barrel vault in a mausoleum at the Recoleta Cemetery, Buenos Aires, Argentina
Pope Sixtus IV, 1477, builder of the Sistine Chapel. Fresco by Melozzo da Forlì in the Vatican Palace.
Barrel vault in the early 20th century main post office of Toledo, Ohio
Four Humanist philosophers under the patronage of the Medici: Marsilio Ficino, Cristoforo Landino, Angelo Poliziano and Demetrius Chalcondyles. Fresco by Domenico Ghirlandaio.
Cosimo de' Medici the Elder, head of the Medici Bank, sponsored civic building programs. Posthumous portrait by Pontormo.
The Church of the Certosa di Pavia, Lombardy
Scuola Grande di San Marco, Venice
Raphael's unused plan for St. Peter's Basilica
Facade of Sant'Agostino, Rome, built in 1483 by Giacomo di Pietrasanta
Classical Orders, engraving from the Encyclopédie vol. 18. 18th century.
The Dome of St Peter's Basilica, Rome.
Courtyard of Palazzo Strozzi, Florence
Ospedale degli Innocenti in Florence.
The dome of Florence Cathedral (the Basilica di Santa Maria del Fiore)
The church of San Lorenzo
Palazzo Medici Riccardi by Michelozzo. Florence, 1444
Basilica of Sant'Andrea, Mantua, the façade
Façade of Santa Maria Novella, 1456–70
The crossing of Santa Maria della Grazie, Milan (1490)
picture above
The Palazzo Farnese, Rome (1534–1545). Designed by Sangallo and Michelangelo.
Palazzo Pandolfini, Florence, by Raphael
Palazzo Massimo alle Colonne.
Palazzo Te, Mantua
St Peter's Basilica
The vestibule of the Laurentian Library
Il Gesù, designed by Giacomo della Porta.
Villa Capra "La Rotonda"
Keystone with a profile of a man, Palazzo Giusti, Verona, Italy
The House of the Blackheads in Riga, Latvia
Royal Summer Palace in Prague is considered the purest Renaissance architecture outside of Italy.
Cathedral of St James, Šibenik
English Renaissance: Hardwick Hall (1590–1597).
French Renaissance: Château de Chambord (1519–39)
Juleum in Helmstedt, Germany (example of Weser Renaissance)
Antwerp City Hall (finished in 1564)
Courtyard of Wawel Castle exemplifies first period of Polish Renaissance
Cloister of the Convent of Christ, Tomar, Portugal, (1557–1591), Diogo de Torralva and Filippo Terzi.
The Palace of Facets on the Cathedral Square of the Moscow Kremlin.
Nordic Renaissance: Frederiksborg Palace (1602–20)
The Escorial (1563–1584), Madrid
Cathedral Basilica of Salvador built between 1657 and 1746, a UNESCO WHS.
The large Basilica of San Francisco in Quito, built between 1535 and 1650, a UNESCO World Heritage Site city.

However, with the coming of the Renaissance and the Baroque style, and revived interest in art and architecture of antiquity, barrel vaulting was re-introduced on a truly grandiose scale, and employed in the construction of many famous buildings and churches, such as Basilica di Sant'Andrea di Mantova by Leone Battista Alberti, San Giorgio Maggiore by Andrea Palladio, and perhaps most glorious of all, St. Peter's Basilica in Rome, where a huge barrel vault spans the 27 m-wide nave.

- Barrel vault

The barrel vault is returned to architectural vocabulary as at the St. Andrea in Mantua.

- Renaissance architecture
Tempietto di San Pietro in Montorio, Rome, 1502, by Bramante. This small temple marks the place where St Peter was put to death

4 related topics

Alpha

Pointed arches in the Tower of the church of San Salvador, Teruel

Gothic architecture

Architectural style that was prevalent in Europe from the late 12th to the 16th century, during the High and Late Middle Ages, surviving into the 17th and 18th centuries in some areas.

Architectural style that was prevalent in Europe from the late 12th to the 16th century, during the High and Late Middle Ages, surviving into the 17th and 18th centuries in some areas.

Pointed arches in the Tower of the church of San Salvador, Teruel
Early Gothic triple elevationSens Cathedral (1135–1164)
High Gothic flying buttressesMetz Cathedral (1220–)
High Gothic west front, Reims Cathedral (1211–)
Strasbourg Cathedral (1275–1486), a facade entirely covered in sculpture and tracery
Flamboyant Gothic east end,Prague Cathedral (1344–)
Perpendicular Gothic east end, Henry VII Chapel (c. 1503–12)
Flamboyant, Sainte-Chapelle de Vincennes, west front
Structure of an early six-part Gothic rib vault. (Drawing by Eugène Viollet-le-Duc)
Crossing vault, Seville Cathedral
Rouen Cathedral from the south west – façade towers 12th–15th century, the flamboyant tower to the 15th century, spire rebuilt in 16th century
Oxen sculpture in High Gothic towers of Laon Cathedral (13th century)
Beauvais Cathedral, south transept (consecrated 1272)
Plate tracery, Lincoln Cathedral "Dean's Eye" rose window (c.1225)
Plan of a Gothic cathedral
Notre-Dame de Paris – deep portals, a rose window, balance of horizontal and vertical elements. Early Gothic.
Grotesque of Selby Abbey (14th century)
Windows of Sainte-Chapelle (13th century)
Medieval Louvre in early 15th century
Plateresque façade, University of Salamanca (late 15th century)
Donjon of the Château de Vincennes, (1337–)
Thistle Chapel at Edinburgh's High Kirk (completed 1910)
Early Gothic: Abbey church of Saint-Denis, west façade (1135–40)
Early Gothic: Nave of Sens Cathedral (1135–1176)
Early English; choir of Canterbury Cathedral (1174–80)
Notre-Dame de Paris nave (rebuilt 1180–1220)
High Gothic; Chartres Cathedral choir (1210-1250)
Rayonnant: Sainte-Chapelle upper level (1238-1248)
Rayonnant- Angel's Choir of Lincoln Cathedral (14th c.)
Perpendicular Gothic; Choir of York Minister (1361-1405)
Flamboyant; "Butter Tower" of Rouen Cathedral (1488-1506)
Eastern end of Wells Cathedral (begun 1175)
West front of Reims Cathedral, pointed arches within arches (1211–1275)
Lancet windows of transept of Salisbury Cathedral (1220–1258)
Pointed arches in the arcades, triforium, and clerestory of Lincoln Cathedral (1185–1311)
A detail of the windows and galleries of the west front of Strasbourg Cathedral (1215–1439)
Early six-part rib vaults in Sens Cathedral (1135–1164)
Rib vaults of choir of Canterbury Cathedral (1174–77)
Stronger four-part rib vaults in nave of Reims Cathedral (1211–1275)
Salisbury Cathedral – rectangular four-part vault over a single bay (1220–1258)
Lierne vaults of Gloucester Cathedral (Perpendicular Gothic)
Skeleton-vault in aisle of Bristol Cathedral (c. 1311–1340)
Lincoln Cathedral – quadripartite form, with tierceron ribs and ridge rib with carved bosses.
Bremen Cathedral – north aisle, a reticular (net) vault with intersecting ribs.
Church of the Assumption, St Marein, Austria – star vault with intersecting lierne ribs.
Salamanca Cathedral, Spain Flamboyant S-shaped and circular lierne ribs. (16th–18th century)
Church of the Jacobins, Toulouse – palm tree vault (1275–1292)
Peterborough Cathedral, retrochoir – intersecting fan vaults
"Rococo Gothic" vaults of Vladislav Hall of Prague Castle (1493)
Early Gothic – Alternating columns and piers, Sens Cathedral (12th century)
High Gothic – Clustered columns of Reims Cathedral (13th century)
Early English Gothic – Clustered columns in Salisbury Cathedral (13th century)
Perpendicular Gothic – columns without interruption from floor to the vaults. Canterbury Cathedral nave (late 14th century)
Canterbury Cathedral with simple wall buttresses and flying buttresses (rebuilt into Gothic 1174–1177)
East end of Lincoln Cathedral, with wall buttress, and chapter house with flying buttresses. (1185–1311)
Flying buttresses of Notre Dame de Paris (c. 1230)
Buttresses of Amiens Cathedral with pinnacles to give them added weight (1220–1266)
Section of Reims Cathedral showing the three levels of each buttress (1211–1275)
Decorated buttresses of Cologne Cathedral (1248–1573)
Abbaye aux Hommes, Caen (tall west towers added in the 13th century)
Towers of Chartres Cathedral; Flamboyant Gothic on left, early Gothic on the right.
The 13th century flèche of Notre Dame, recreated in the 19th c, destroyed by fire in 2019, now being restored
Salisbury Cathedral tower and spire over the crossing (1320)
West towers of York Minster, in the Perpendicular Gothic style.
The perpendicular west towers of Beverley Minster (c. 1400)
Crossing tower of Canterbury Cathedral (1493–1505)
Cologne Cathedral towers (begun 13th century, completed 20th century
Tower of Ulm Minster (begun 1377, completed 19th century)
Tower of Freiburg Minster (begun 1340) noted for its lacelike openwork spire
Prague Cathedral (begun 1344)
The Giralda, the bell tower of Seville Cathedral (1401–1506)
West towers of Burgos Cathedral (1444–1540)
Giotto's Campanile of Florence Cathedral (1334–1359)
Lancet Gothic, Ripon Minster west front (begun 1160)
Plate tracery, Chartres Cathedral clerestory (1194–1220)
Geometrical Decorated Gothic, Ripon Minster east window
Rayonnant rose window, Strasbourg Cathedral west front
Flamboyant rose window, Amiens Cathedral west front
Curvilinear window, Limoges Cathedral nave
Perpendicular four-centred arch, King's College Chapel, Cambridge west front
Early bar tracery in Soissons Cathedral (13th century)
Bar-tracery, Lincoln Cathedral east window
Blind tracery, Tours Cathedral (16th century)
Noyon Cathedral nave showing the four early Gothic levels (late 12h century)
Three-part elevation of Wells Cathedral (begun 1176)
Nave of Lincoln Cathedral (begun 1185) showing three levels; arcade (bottom); tribune (middle) and clerestory (top).
Three-part elevation of Chartres Cathedral, with larger clerestory windows.
Nave of Amiens Cathedral, looking west (1220–1270)
Nave of Strasbourg Cathedral (mid-13th century), looking east
The medieval east end of Cologne Cathedral (begun 1248)
Wells Cathedral (1176–1450). Early English Gothic. The facade was a Great Wall of sculpture.
Amiens Cathedral, (13th century). Vertical emphasis. High Gothic.
Salisbury Cathedral – wide sculptured screen, lancet windows, turrets with pinnacles. (1220–1258)
Cathedral of St. Michael and St. Gudula in Brussels, a towered highly decorated facade
Flamboyant facade of Notre-Dame de l'Épine (1405–1527) with openwork towers
Orvieto Cathedral (1310–), with polychrome mosaics
High Gothic Chevet of Amiens Cathedral, with chapels between the buttresses (13th century)
Ambulatory and Chapels of the chevet of Notre Dame de Paris (14th century)
The Henry VII Lady Chapel at Westminster Abbey (begun 1503)
Ely Cathedral – square east end: Early English chancel (left) and Decorated Lady Chapel (right)
Interior of the Ely Cathedral Lady Chapel (14th century)
Monsters and devils tempting Christians - South portal of Chartres Cathedral (13th century)
Gallery of Kings and Saints on the facade of Wells Cathedral (13th century)
Amiens Cathedral, tympanum detail – "Christ in majesty" (13th century)
Illumination of portals of Amiens Cathedral to show how it may have appeared with original colors
West portal Annunciation group at Reims Cathedral with smiling angel at left (13th century)
More naturalistic later Gothic. Temptation of the foolish Virgins, Strasbourg Cathedral.
Sculpture from facade of Siena Cathedral by Nino Pisano (14th century)
Gargoyle of Amiens Cathedral (13rh century)
A stryx at Notre-Dame de Paris (19th century copy)
Labyrinth of Chartres Cathedral (13th century)
Labyrinth with Chartres pattern at Amiens Cathedral
Abbey of Saint-Denis, Abbot Suger represented at feet of Virgin Mary (12th century)
Detail of the Apocalypse window, Bourges Cathedral, early 13th century
Thomas Becket figure from Canterbury Cathedral (13th century)
Glass of Sainte-Chapelle depicting a baptism (13th century), now in Cluny Museum
Sainte-Chapelle de Vincennes (14th century)
Windows of King's College Chapel, Cambridge (1446–1451)
The Visitation window (1480) from Ulm Minster, by Peter Hemmel of Andlau. Late Gothic with fine shading and painted details.
Late Gothic grisaille glass and painted figures, depicting Saint Nicholas (France, 1500–1510), Cluny Museum
Detail of the Late Gothic stained glass of King's College Chapel, Cambridge, (1531)
Notre Dame de Laon west window (13th century)
South rose window of Notre Dame de Paris (13th century)
South rose window of Chartres Cathedral (13th century)
West rose window of Reims Cathedral (13th century)
Grand rose of Strasbourg Cathedral (14th century)
Orvieto Cathedral rose window (14th c.)
Palais de la Cité (1119–) and Sainte-Chapelle (1238–48), Paris
Hall of men-at-arms, Conciergerie of the Palais de la Cité
Façade of the Palais des Papes, Avignon (1252–1364)
The Doge's Palace, Venice (1340–1442)
Palace of the Kings of Navarre, Olite (1269–1512)
Great Gatehouse at Hampton Court Palace, London (1522)
Hildesheim Town Hall, Germany (13/14th c.)
Bell tower of the Hotel de Ville of Douai, France (14th c.)
Brussels' Town Hall (15th century)
Belfry of Bruges in Bruges, Belgium (13th c. (lower stages), 15th c. (upper stages)
Silk Exchange, Valencia (1482–1548)
Gallery of Palau de la Generalitat, Barcelona (1403)
Middelburg Town Hall, Netherlands (1520)
Town Hall Gouda, Netherlands (1459)
Mob Quad of Merton College, Oxford University (1288–1378)
Balliol College, Oxford, front quad, with decorative battlements (1431)
Fan vaults and glass walls of King's College Chapel, Cambridge (1508–1515)
Gothic oriel window, Karolinum, Charles University, Prague (c.1380)
Cloister, Collegium Maius, Kraków (late 15th century)
Restored outer walls of the medieval city of Carcassonne (13th–14th century)
Malbork Castle in Poland (13th century)
Alcazar of Segovia (12th–13th centuries)
Hohenzollern Castle (1454–1461) in Baden-Württemberg, southern Germany
Romanesque Worms Synagogue from the 11th century with Gothic windows (after 1355)
Scolanova Synagogue, Trani, Apulia (1247)
Old New Synagogue, Prague (c. 1270)
Main portal of the Old New Synagogue, Prague (c. 1270)
Old Synagogue, Erfurt (c. 1270)
Late Gothic vaulting of Pinkas Synagogue, Prague (1535)
Renaissance interior of the Old Synagogue in Kraków using Gothic vaults (1570)
The mihrab of the Lala Mustafa Pasha Mosque of Famagusta is located on a side chapel.
The carpet pattern marks the ranks for the faithful to pray towards Mecca (obliquely on the right) in the Selimiye Mosque of Northern Nicosia.
A minaret has been added to the Fethija mosque of Bihać.
Arap Mosque
The transition from Romanesque to Gothic styles is visible at the Durham Cathedral in England, (1093-1104. Early Gothic rib vaults are combined with round arches and other Romanesque features.
The south transept of Lessay Abbey in Normandy (1064–1178)
Cefalu Cathedral built in Norman Sicily (1131–1267)
Nave of Monreale Cathedral in Norman Sicily (1172–1267)
Al-Ukhaidir Fortress (completed 775 AD), Iraq
Al-Aqsa Mosque, Jerusalem
Vaulted central dome of Cordoba Mosque-Cathedral, Spain (784–987 A.D.). Ribs decorate the Pendentives which support the dome.
Cupola of Odzun Basilica in Armenia, supported by squinch vaulting, an early form of pendentive. (8th century)
Delal Bridge, Iraq
Arches at Al-Raqqah, Syria
The Armenian cathedral of Ani, completed in the early 11th century.
Tom Tower, Christ Church, Oxford, (1681–82), designed by Christopher Wren.
Strawberry Hill House, Twickenham (begun 1749, completed in 1776), designed for Horace Walpole.
Guildhall, London, main entrance (completed 1788) designed by George Dance
Elizabeth Tower (Big Ben) (completed in 1859) and the Houses of Parliament in London (1840–1876)
Ohel David Synagogue, Pune (completed 1867)
Frere Hall, Karachi, (completed 1865)
St. Patrick's Cathedral, New York City, (completed 1878)
Palazzo del Governatore, Rhodes (1927) designed by Florestano Di Fausto
St. John's Cathedral ('s-Hertogenbosch)
Grote Kerk (Breda)

It evolved from Romanesque architecture and was succeeded by Renaissance architecture.

Unlike the semi-circular barrel vault of Roman and Romanesque buildings, where the weight pressed directly downward, and required thick walls and small windows, the Gothic rib vault was made of diagonal crossing arched ribs.

East side of the Chapel, from the altar end.

Sistine Chapel

Chapel in the Apostolic Palace, in Vatican City and the official residence of the pope.

Chapel in the Apostolic Palace, in Vatican City and the official residence of the pope.

East side of the Chapel, from the altar end.
The Sistine Chapel as it may have appeared in the 15th century (19th-century drawing)
Sistine Chapel in 2017
Exterior of the Sistine Chapel
A reconstruction of the appearance of the west Wall chapel in the 1480s, prior to the painting of the ceiling
Drawing by Pinturicchio of Perugino's lost Assumption in the Sistine Chapel.
Raphael tapestries in the Sistine Chapel
Diagram of part of the vertical fresco decoration of the Sistine Chapel
Trials of Moses by Botticelli
The Delivery of the Keys by Perugino
Resurrection of Christ
The Creation of Adam by Michelangelo
Comparison between Michelangelo's sketch of the Sistine ceiling's architectural outline (Archivio Buonarroti, XIII, 175v) and a view from below of the ceiling. Comparison by Adriano Marinazzo (2013).
A section of the Sistine Chapel ceiling
Daniel, before and after restoration.
The Miraculous Draught of Fishes (Luke 5:1–11)This cartoon depicts Christ telling Peter and the Apostles where to cast their net. This resulted in the “miraculous catch.” Within the design, Peter is pictured bowing before Christ as if thanking him for the harvest full bounty that was caught. Raphael’s exquisite attention to details are shown in this tapestry in how there is a mirror image of the artwork reflected in the water. There is a great use of foreshortening.  His use of perspective in the distant background is used effectively. Raphael demonstrates an excellent use of tones in the forefront of the image.<ref>{{Cite web|last=Museum|first=Victoria and Albert|title=The Miraculous Draught of Fishes (Luke 5: 1-11) {{!}} Raphael {{!}} V&A Explore The Collections|url=https://collections.vam.ac.uk/item/O102006/|access-date=2022-02-11|website=Victoria and Albert Museum: Explore the Collections|language=en}}</ref>
Christ's Charge to Peter (Matthew 16:16–19) The key moment in the Gospels for the claims of the Papacy. Within this tapestry Raphael combines the two Bible stories of Matthew 16:18-19. Raphael portrays Christ commanding Peter to share the Gospel for him. Christ points at Peter while simultaneously pointing at the sheep. This creates a connection for Peter. He is chosen as the shepherd for the believers. Raphael utilizes foreshortening to help viewers focus on the main images and message of the cartoon. He effortlessly implements chiaroscuro. The use of colors to show different lighting illustrates where the sun is in relation to the characters.<ref>{{Cite web|last=Museum|first=Victoria and Albert|title=Christ's Charge to Peter (Matthew 16: 18-19, John 21: 15-17) {{!}} Raphael {{!}} V&A Explore The Collections|url=https://collections.vam.ac.uk/item/O1069360/|access-date=2022-02-11|website=Victoria and Albert Museum: Explore the Collections|language=en}}</ref>
The Healing of the Lame Man (Acts 3:1–8)The incredible story of Peter healing the lame man, Acts 3:1-8 is a tapestry within Raphael’s Cartoon collection. This miracle illustrates the “spiritual healing of Jesus." Pictured is the lame man sitting and leaning against an intricately detailed column with his arm reaching overhead for Peter to cradle his hand. Raphael’s attention to detail is displayed in the lame man’s face. The shadowing and tones used create the look of an aged, tired man. The wrinkles in his face and his eyes display the pain he is feeling. The lines used in the creation of his legs and feet define muscular legs and impaired feet. All of this artistic detail reinforces the fact that the lame man spent many years lying and crawling on the ground impaired by his handicap. In contrast, Peter stands clutching his hand while praying over him. The details in Peter’s face and expression reinforce his concern. The rendering of the clothing is exceptional. It gives the appearance of creased material that can be felt. Furthermore, the detail of each individual’s hair enables the viewer to detect exactly how their hair would appear in person.<ref>{{Cite web|last=Museum|first=Victoria and Albert|title=The Healing of the Lame Man (Acts 3: 1-8) {{!}} Raphael {{!}} V&A Explore The Collections|url=https://collections.vam.ac.uk/item/O1069359/|access-date=2022-02-11|website=Victoria and Albert Museum: Explore the Collections|language=en}}</ref>
The Death of Ananias (Acts 5:1–10)Raphael’s tapestry expertly illustrates the story of Acts 5:1-10. This could also be named the miracles of Peter. This artwork explains the story of how Peter is capable of punishing and saving others. The Apostles requested that the Christian followers sell their items and tithe the money. During this, Ananias steals from the church by stealing some of the money. When questioned by Peter, Ananias denies any wrong doing. Ananias drops dead. He was punished for his sins of stealing and lying. Raphael once again applies the skill of chiaroscuro to illustrate this tapestry. His use of tones and shading help place lighting and shadows to specific areas of this artwork. The use of implied lines is demonstrated with the man standing over Ananias pointing to another individual who is pointing up, as if he is pointing to God. This implies that God can help him. The group of men on the right appears concerned with Ananias and wants to help. On the other hand, the men to the left seem frightened.<ref>{{Cite web|last=Museum|first=Victoria and Albert|title=The Death of Ananias (Acts 5: 1-5) {{!}} Raphael {{!}} V&A Explore The Collections|url=https://collections.vam.ac.uk/item/O1069358/|access-date=2022-02-11|website=Victoria and Albert Museum: Explore the Collections|language=en}}</ref>
The Stoning of St Stephen (no cartoon) at which Paul (Saul) was present before his conversion.
The Conversion of Saint Paul (no cartoon[c])
"The Conversion of the Proconsul or The Blinding of Elymas (Acts 13:6–12)." Paul had been invited to preach to the Roman proconsul of Paphos, Sergius Paulus, but is heckled by Elymas, a "magus", whom Paul miraculously causes to go temporarily blind, thus converting the proconsul.
The Sacrifice at Lystra (Acts 14:8). After Paul miraculously cures a cripple, the people of Lystra see him and his companion Barnabas (both standing left) as gods, and want to make a sacrifice to them. Paul tears his garments in disgust, whilst Barnabas speaks to the crowd, persuading the young man at centre to restrain the man with the sacrificial axe.
St Paul in prison (no cartoon), much smaller than the others, tall and narrow. This is also missing from the later tapestry sets.
St Paul Preaching in Athens (Acts 17:16–34), the figure standing at the left in a red cap is a portrait of Leo; next to him is Janus Lascaris, a Greek scholar in Rome. The kneeling couple at the right were probably added by Giulio Romano, then an assistant to Raphael.
Moses Leaving for Egypt
Punishment of the Rebels
Sermon on the Mount

Its exterior is unadorned by architectural or decorative details, as is common in many Italian churches of the Medieval and Renaissance eras.

The ceiling of the chapel is a flattened barrel vault springing from a course that encircles the walls at the level of the springing of the window arches.

Portrait of Palladio by Alessandro Maganza

Andrea Palladio

Italian Renaissance architect active in the Venetian Republic.

Italian Renaissance architect active in the Venetian Republic.

Portrait of Palladio by Alessandro Maganza
One of the first works by Palladio, Villa Godi (begun 1537)
Hall of the Muses of the Villa Godi (1537–1542)
Villa Piovene (1539)
Villa Pisani, Bagnolo (1542)
Palazzo Thiene (1542–1558), (begun by Giulio Romano, revised and completed by Palladio)
Basilica Palladiana, Vicenza
Ground floor and entrance stairway of the Basilica Palladiana
Upper level loggia of the Basilica Palladiana
Palazzo Chiericati (1550) in Vicenza
Palazzo del Capitaniato (1565–1572)
The front page of I quattro libri dell'architettura (The Four Books of Architecture) (1642 edition)
Villa Cornaro (begun 1553) combined rustic living and an imposing space for formal entertaining
The Hall of the Four Columns
Plan of the Villa Cornaro
The Villa Barbaro in Maser (begun 1557)
The Nymphaeum of the Villa Barbaro
Detail of the Hall of Olympus, with frescoes by Paolo Veronese
Villa Capra "La Rotonda" (begun 1566)
Palladio's plan of the Villa in I quattro libri dell'architettura, 1570
North facade of Villa Foscari, facing the Brenta Canal
Interior decoration of grotesques on salon ceiling of Villa Foscari
South facade of Villa Foscari, with the large windows that illuminate the main salon
Nave of San Giorgio Maggiore, Venice (1565)
Il Redentore Church in Venice (1576)
Interior of Il Redentore Church in Venice (1576)
Plan by Ottavio Bertotti Scamozzi
Facade of the Tempietto Barbaro
Section of the Tempietto Barbaro, drawn by Scamozzi (1783)
Stage with scenery designed by Vincenzo Scamozzi, who completed the theatre after the death of Palladio
Stage and seating of his last work, the Teatro Olimpico (1584)
House of the Director of the Royal Saltworks at Arc-et-Senans, by Claude Nicolas Ledoux (1775)
La Rotonde customs barrier, Parc Monceau, by Claude Nicolas Ledoux
Palladian garden structure at Steinhöfel by David Gilly (1798)
The Queen's House, Greenwich by Inigo Jones (1616–1635)
Chiswick House by Richard Boyle, 3rd Earl of Burlington and William Kent (completed 1729)
Wilton House south front by Inigo Jones (1650)
Palladio Bridge at Wilton House (1736–37)
Stourhead House by Colen Campbell (1721–24), inspired by Villa Capra
Harvard Hall at Harvard University by Thomas Dawes (1766)
Monticello, residence of Thomas Jefferson (1772)
Winning design for the first United States Capitol by Thomas Thornton (1793)
Clarity and harmony. Villa Badoer (1556–1563), an early use by Palladio of the elements of a Roman temple
The Basilica Palladiana, Vicenza, (begun 1546) with arched Palladian window and round oculi to the loggia.
A variation of the Palladian or Venetian window, with round oculi, at Villa Pojana (1548–49)
Late Palladio style, Mannerist decoration on the facade of the Palazzo del Capitanio (1565–1572)
Palazzo Strozzi courtyard
Villa Capra "La Rotonda" outside Vicenza
San Francesco della Vigna in Venice
Villa Porto
Villa Valmarana
Villa Emo
Villa Saraceno
Villa Cornaro
Palazzo del Capitaniato, Vicenza
Palazzo Thiene Bonin Longare, Vicenza

The interior of the main hall has a barrel-vaulted ceiling lavishly decorated with murals of mythological themes.

The basic elements of Italian Renaissance architecture, including Doric columns, lintels, cornices, loggias, pediments and domes had already been used in the 15th century or earlier, before Palladio.

Facade and belltower

Basilica of Sant'Andrea, Mantua

Roman Catholic co-cathedral and minor basilica in Mantua, Lombardy .

Roman Catholic co-cathedral and minor basilica in Mantua, Lombardy .

Facade and belltower
The Sacred Vessels containing the relic of the Blood of Christ.
Plan and drawings of the crypt
Elements of the arches on the lateral façade. Photo by Paolo Monti
Dome
Interior

It is one of the major works of 15th-century Renaissance architecture in Northern Italy.

The nave is roofed by a barrel vault, one of the first times such a form was used in such a monumental scale since antiquity, and probably modeled on the Basilica of Maxentius in Rome.