giacomo leoni.pptx

Giacomo Leoni (1686 – 8 June 1746), also known as James Leoni, was an Italian architect, born in Venice. He was a devotee of the work of Florentine Renaissance architect Leon Battista Alberti, who had also been an inspiration for Andrea Palladio. Leoni thus served as a prominent exponent of Palladianism in English architecture, beginning in earnest around 1720. Also loosely referred to as Georgian, this style is rooted in Italian Renaissance architecture.

1. Giacomo Leoni 1686 – 8 June 1746, Venice

2. Giacomo Leoni Italian architect Also known as James Leoni He was a devotee of the work of Florentine Renaissance architect Leon Battista Alberti , who had also been an inspiration for Andrea Palladio. Leoni thus served as a prominent exponent of Palladianism in English architecture Georgian style , this style is rooted in Italian Renaissance architecture. Between 1715 and 1720 he published in installments the first complete English language edition of Palladio 's I Quattro Libri dell'Architettura , which Leoni entitled The Architecture of A. Palladio, in Four Books . On the frontispiece of his edition of Palladio, Leoni titled himself " Architect to his most serene Highness the Elector Palatine ." This claim, however, remains unsubstantiated. Palladianism - European architectural style derived from and inspired by the designs of the Venetian architect Andrea Palladio (1508–1580) Georgian style - Georgian architecture is the name given in most English-speaking countries to the set of architectural styles current between 1714 and 1830. I quattro libri dell'architettura (The Four Books of Architecture) is a treatise on architecture by the architect Andrea Palladio (1508–1580), written in Italian.

3. WORKS Giacomo Leoni's principal architectural skill was to adapt Alberti's and Palladio's ideals to suit the landed classes in the English countryside , without straying too far from the principles of the great masters. He made Palladian architecture less austere, and adapted his work to suit the location and needs of his clients. Leoni would frequently build in both bricks & dressed stone, depending on availability and what was indigenous to the area of the site. His first built design in England was Queensberry House, 7 Burlington Gardens. This was to be an important architectural landmark, as the first London mansion to be built in a terrace with an "antique temple front.“ AUSTERE - having a plain and unadorned appearance 7 BURLING GARDEN . later Queensberry House, London. Leoni's first executed design in England, an important architectural landmark as the first London mansion to be built in a terrace with an "antique temple front." 3 7 building garden Queensberry house

4. LYME PARK In the early 1720s, Leoni received one of his most important challenges: to transform a great Elizabethan house, Lyme Hall, into a Palladian palace. large areas of the house remained completely unaltered, and the wood carvings were left intact. In the central courtyard Leoni achieved the Palladian style by hiding the irregularities and lack of symmetry of the earlier house in a series of arcades around the courtyard. Leoni reconstructed Lyme with the secondary, domestic and staff rooms on a rusticated ground floor, above which was a piano nobile (1 st floor), formally accessed by an exterior double staircase from the courtyard. Above the piano nobile were the more private room and less formal rooms for the family. in a true Palladian house the central portion behind the portico would contain the principal rooms, while the lower flanking wings were domestic offices usually leading to terminating pavilions which would often be agricultural in use. (it follows the villa rotund ) "the boldest Palladian building in England." . both Palladian and Baroque styles. squared buff sandstone rubble with sandstone dressings; ashlar sandstone. Welsh slates. 4

5. . 5 On the west side is a one-bay centerpiece with a window between two Doric pilasters; on the south and north are three windows with four similar pilasters; and on the east front is the grand entrance with a portal in a Tuscan aedicule. This entrance is between the first and second stories and is approached by symmetrical pairs of stairs with iron balusters. In the centre of the courtyard is an Italian Renaissance well-head, surrounded by chequered pink and white stone, simulating marble. The house is measuring overall 190 feet (58 m) by 130 feet (40 m) round a courtyard plan. The symmetrical north face is of 15 bays in three storeys ; its central bay consists of a slightly protruding gateway. The arched doorway in this bay has Doric columns with a niche on each side. Above the doorway are three more Doric columns with a pediment, and above this are three further columns. Over all this are four further columns with an open pediment bearing an image of Minerva. MINERVA :- The goddess of handicrafts, widely worshiped and regularly identified with the Greek goddess Athena, which led to her being regarded also as the goddess of war.

6. . 6 The bottom storey is rusticated with arched windows, and the other storeys are smooth with rectangular windows. The middle three bays consist of a portico of which the lowest storey has three arches. Above this arise four giant fluted Ionic columns supporting a triangular pediment. Standing on the pediment are three lead statues, of Neptune, Venus and Pan. The pediment partly hides Wyatt's blind balustraded ashlar attic block. The other bays are separated by plain Ionic pilasters and the end three bays on each side protrude slightly. The nine-bay three-storey east front is mostly Elizabethan in style. The courtyard was remodeled by Leoni, who gave it a rusticated cloister on all sides. Above the cloister the architecture differs on the four sides although all the windows on the first (piano nobile) floor have pediments. RUSTICATED WINDOW :-The windows are surmounted by rusticated wooden jack arches with superimposed keystones, and a heavy modillion cornice crowns the bold Georgian proportions of the facade. CLOISTER :- a covered walk in a convent, monastery, college, or cathedral, typically with a wall on one side and a colonnade open to a quadrangle on the other.

7. 7 On the west side is a one-bay centerpiece with a window between two Doric pilasters; on the south and north are three windows with four similar pilasters; and on the east front is the grand entrance with a portal in a Tuscan aedicule. This entrance is between the first and second story's and is approached by symmetrical pairs of stairs with iron balusters. In the centre of the courtyard is an Italian Renaissance well-head, surrounded by chequered pink and white stone, simulating marble. The ground floors of the three outer bays on each side are rusticated, and their upper stories are divided by large Corinthian pilasters. The west front is also in three stories, with nine bays, the outer two bays on each side projecting forward. The ground floor is rusticated and the upper floors are smooth.

8. 8 The Entrance Hall, which is in the east range, was remodeled by Leoni. It is asymmetrical and contains giant pilasters and a screen of three fluted Ionic columns. The doorway to the courtyard has an open pediment. A hinged picture can be swung out from the wall to reveal a squint looking into the Entrance Hall. Also in the Entrance Hall are tapestries which were woven at the Mortlake Tapestry Works. In order to accommodate them, the interior decorator, Amadée Joubert, had to make alterations, including the removal of a tabernacle and cutting out four of the pilasters. To the south of the Entrance Hall is the Library, and to the east is Wyatt's Dining Room, which has a stucco ceiling and a carved overmantel both in a late 17th-century style, as well as a frieze. The decoration of this room is considered to be a rare early example of the Renaissance style.

9. 9 To the north of the Entrance Hall are the two principal Elizabethan rooms, the Drawing Room and the Stag Parlor. The Drawing Room is paneled with intersecting arches above which is a marquetry frieze. The ceiling has studded bands, strapwork cartouches and a broad frieze. Over the fireplace is a large stone overmantel, which is decorated with pairs of atlantes and caryatids framing the arms of Elizabeth I. The stained glass in this room includes medieval glass that was moved from the original Lyme Hall to Disley Church and returned to Lyme in 1835. The Stag Parlor has a chimneypiece depicting an Elizabethan house and hunting scenes, and it includes the arms of James I. The other Elizabethan rooms in the house are the Stone Parlor on the ground floor, and the Long Gallery, which is on the top floor of the east range. The Long Gallery also has a chimneypiece with the arms of Elizabeth I. The Grand Staircase dates from the remodeling by Leoni and it has a Baroque ceiling. The Saloon is on the first floor of the south range, behind the portico. Its ceiling is decorated in rococo style, and the room contains wooden carvings that have been attributed to Grinling Gibbons. The Chapel, in the northeast corner of the ground floor, also contains detailed carvings.