Whether Palladio's work inspired Chiswick or not, the Renaissance architect exerted an important influence on Lord Burlington through his plans and reconstructions of lost Roman buildings ; many of these unpublished and little known, were purchased by Burlington on his second Grand Tour and housed in the Blue Velvet Room, which served as his study.

Although his buildings are all in a relatively small part of Italy, Palladio's influence was far-reaching.

Palladio's influence in North America is evident almost from the beginning of architect-designed building there though the Anglo-Irish philosopher, George Berkeley, may in fact have been America's pioneering Palladian.

In 1738 Isaac Ware, with the encouragement of Richard Boyle, third Earl of Burlington, produced a more accurate translation of Palladio's work with illustrations which were faithful to the originals, but Leoni's changes and inaccuracies continued to influence Palladianism for generations.

He also met several important figures Thomas Coke, later 1st Earl of Leicester, with whom he toured Northern Italy in the summer of 1714 ( a tour that led Kent to an appreciation of the architectural style of Andrea Palladio's palaces in Vicenza ).

Burlington may also have been influenced in his choice of octagon from the drawings of the Renaissance architect Sebastiano Serlio ( 1475 – 1554 ), or from Roman buildings of antiquity ( for example, Lord Burlington owned Andrea Palladio's drawings of the octagonal mausoleum at Diocletian's Palace at Split in modern Croatia ).

Three copies of the original 1570 publication of Andrea Palladio's I quattro libri dell ' architettura were also placed here.

In Palladio's architectural treatises he followed the principles defined by the Roman architect Vitruvius and his 15th-century disciple Leon Battista Alberti, who adhered to principles of classical Roman architecture based on mathematical proportions rather than the rich ornamental style also characteristic of the Renaissance.

In 1749 Peter Harrison adopted the design of his Redwood Library in Newport, Rhode Island, more directly from Palladio's Quattro Libri, while his Brick Market, also in Newport, of a decade later is also Palladian in conception.

The house is often said to be directly inspired by Palladio's Villa Capra " La Rotonda " near Vicenza, due to the fact that architect Colen Campbell had offered Lord Burlington a design for a Villa very closely based on the Villa Capra for his use at Chiswick.

They were, however, in no way intended to be part of the main house, and it is in the design and use of these wings that Palladio's followers in the 18th century adapted to become an integral part of the building.

Tommaso Temanza, their biographer, proved to be the movement's most able and learned proponent ; in his hands the visual inheritance of Palladio's example became increasingly codified in correct rules and drifted towards neoclassicism.

This in itself is a substantial deviation from the classical form: West Wycombe does not have a first floor piano nobile: had the architect truly followed Palladio's ideals, the main entrance and principal rooms would have been on the first floor reached by an outer staircase, giving the main reception rooms elevated views, and allowing the ground floor to be given over to service rooms.

15 steps were required to reach the church's entrance, a direct reference to the Temple of Jerusalem and complicit with Palladio's own requirement that " the ascent ( of the faithful ) will be gradual, so that the climbing will bring more devotion ".

This house, later known as ' La Rotonda ', was to be one of Palladio's best-known legacies to the architectural world.

Whatever the name or the origin, this form of window has probably become one of the most enduring features of Palladio's work seen in the later architectural styles evolved from Palladianism.

Campbell's work closely followed the form of the previous building and reused much of the structure, but the conventional front ( south ) facade was replaced with an austere two-storey composition, taking Palladio's Palazzo Iseppo di Porti, Vicenza, for a model, but omitting sculpture and substituting a balustrade for the attic storey.

Palladio's approach to his villa designs were not relative to his experience in Rome.

A villa with a superimposed portico, from Book IV of Palladio's I Quattro Libri dell ' Architettura, in a modestly priced English translation published in London, 1736.

Earlier architects had used these formulas for balancing a single symmetrical facade ; however, Palladio's designs related to the whole, usually square, villa.

Palazzo Chiericati ( above ) by Palladio ( c. 1550 ) has a superposed colonnade similar to that at West Wycombe, but the inspiration for the south front may have been Palladio's reconstruction of Vitruvius's Roman villa illustrated in his Quattro Libri.

Scamozzi had already stepped in to complete Palladio's other great unfinished project, the villa just east of Vicenza that is today known as La Rotonda.

Unusually among Palladio's completed works, the wings here do not actually touch the villa, and they are set slightly in front of it.

Galilei designed the façade of the main block of Castletown, the grandest Palladian house in Ireland, but returned to Italy in 1719 and was not associated with the actual construction of the house, which was begun in 1722 and carried through by the young Anglo-Irish architect Edward Lovett Pearce, who met Galilei in Florence while he was making drawings of Palladio's villa on his tour of Italy.

An illustration of Andrea Palladio's Doric order, as it was laid out, with modules identified, by Isaac Ware, in The Four Books of Palladio's Architecture ( London, 1738 ) is illustrated at Vitruvian module.

He carried his copy of Andrea Palladio's book I quattro libri dell ' architettura with him in touring the Veneto in 1719, and made notes on a small number of blank pages.

In the basilica-like space, Burlington attempted an archaeological reconstruction " with doctrinaire exactitude " ( Colvin 1995 ) of the " Egyptian Hall " described by Vitruvius, as it had been interpreted in Palladio's Quattro Libri.

The 16th century was the time of Andrea Palladio, who left many outstanding examples of his art with palaces and villas in the city's territory, which before Palladio's passage, was arguably the most downtrodden and esthetically lacking city of the Veneto.

Known as Lord Burlington, he was the famous architect who published Andrea Palladio's designs of Ancient Roman architecture and designed Chiswick House with William Kent.

This philosophy was vaguely similar to Andrea Palladio's approach to his Villas in Vicenza, many of which had a semi-agricultural purpose, with the ground floor used for domestic and commercial activities, and the piano noble used for entertainment.

Together with the central rectangular Gallery, this series of geometric forms derive from Andrea Palladio's reconstructions of the Diocletian Bathhouses, which designs Lord Burlington owned.

These features are associated with the Baths of Diocletian and Caracalla, with Andrea Palladio's reconstructions again the source.

As according to Palladio's recommendations Burlington used two screens of Tuscan columns in this room with the arrangement replicating the tripartite arrangement of Roman Bath Houses.

This offers potential evidence of a second visit to Italy, possibly around 1606, influenced by the ambassador Henry Wotton: there is evidence that Jones owned a copy of Andrea Palladio's works with marginalia that refer to Wotton.

The Procuratie Nuove were a row of official housing for the Procuratorate of San Marco, presented as a unified palace front that continues the end facade of the Sansovino Library, with its arcaded ground floor and arch-headed windows of the first floor, but adding an upper floor to provide the necessary accommodation, for which Scamozzi adapted a rejected project of Palladio's for a re-faced Doge's Palace, with colonnettes that flank the windows to support alternating triangular and arched pediments, upon which Scamozzi added reclining figures, to balance the richness of the Sansovinian decoration of the two lower floors.

* 1565: Church of San Giorgio Maggiore, Venice ( completed between 1607 and 1611 after Palladio's death, with a different façade, by Vincenzo Scamozzi )

Buildings entirely designed by Palladio are all in Venice and the Veneto, with an especially rich grouping of palazzi in Vicenza, vaunted now in guidebooks as Palladio's City.

The most influential follower of Palladio anywhere, however, was the English Inigo Jones, who travelled throughout Italy with the ' Collector ' Earl of Arundel, annotating his copy of Palladio's treatise, in 1613 – 14.

Designed by the Italian architect Alessandro Galilei ( 1691 – 1737 ), it is perhaps the only Palladian house in Ireland to have been built with Palladio's mathematical ratios, and one of the three Irish mansions which claim to have inspired the design of the White House in Washington.

Acquiring a large farmhouse in Middletown, near Newport in the late 1720s, Berkeley dubbed it " Whitehall " and improved it with a Palladian doorcase derived from William Kent's Designs of Inigo Jones ( 1727 ), which he may have brought with him from London ; Palladio's work was included in the library of a thousand volumes he amassed for the purpose and sent to Yale College.

Monticello ( remodelled between 1796 and 1808 ) is quite clearly based on Palladio's Villa Capra, however, with modifications, in a style which is described in America today as Colonial Georgian.