Andrea Palladio: Italian Architect - IELTS Reading Answers & Explanations
From IELTS Recent Actual Test 4 Academic Reading Test 2 · Part 1 · Questions 1–13
Reading Passage
You should spend about 20 minutes on Questions 1-13, which are based on Reading Passage 1 below.
Andrea Palladio: Italian Architect
A new exhibition celebrates Palladio's architecture 500 years on
Vicenza is a pleasant, prosperous city in the Veneto, 60 km west of Venice. Its grand families settled and farmed the area from the 16th century. But its principal claim to fame is Andrea Palladio, who is such an influential architect that a neoclassical style is known as Palladian. The city is a permanent exhibition of some of his finest buildings, and as he was born in Padua, to be precise — 500 years ago, the International Centre for the Study of Palladio's Architecture has an excellent excuse for mounting la grande mostra, the big show.
The exhibition has the special advantage of being held in one of Palladio's buildings, Palazzo Barbaran da Porto. Its bold façade is a mixture of rustication and decoration set between two rows of elegant columns. On the second floor the pediments are alternately curved or pointed, a Palladian trademark. The harmonious proportions of the atrium at the entrance lead through to a dramatic interior of fine fireplaces and painted ceilings. Palladio's design is simple, clear and not over-crowded. The show has been organised on the same principles, according to Howard Burns, the architectural historian who co-curated it.
Palladio's father was a miller who settled in Vicenza, where the young Andrea was apprenticed to a skilled stonemason. How did a humble miller's son become a world renowned architect? The answer in the exhibition is that, as a young man, Palladio excelled at carving decorative stonework on columns, doorways and fireplaces. He was plainly intelligent, and lucky enough to come across a rich patron, Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman architecture and the work of other influential architects of the time, such as Donato Bramante and Raphael.
Burns argues that social mobility was also important. Entrepreneurs, prosperous from agriculture in the Veneto, commissioned the promising local architect to design their country villas and their urban mansions. In Venice the aristocracy were anxious to co-opt talented artists, and Palladio was given the chance to design the buildings that have made him famous – the churches of San Giorgio Maggiore and the Redentore, both easy to admire because they can be seen from the city’s historical centre across a stretch of water.
He tried his hand at bridges – his unbuilt version of the Rialto Bridge was decorated with the large pediment and columns of a temple – and, after a fire at the Ducal Palace, he offered an alternative design which bears an uncanny resemblance to the Banqueting House in Whitehall in London. Since it was designed by Inigo Jones, Palladio’s first foreign disciple, this is not as surprising as it sounds.
Jones, who visited Italy in 1614, bought a trunk full of the master’s architectural drawings; they passed through the hands of the Dukes of Burlington and Devonshire before settling at the Royal Institute of British Architects in 1894. Many are now on display at Palazzo Barbaran. What they show is how Palladio drew on the buildings of ancient Rome as models. The major theme of both his rural and urban building was temple architecture, with a strong pointed pediment supported by columns and approached by wide steps.
Palladio’s work for rich landowners alienates unreconstructed critics on the Italian left, but among the papers in the show are designs for cheap housing in Venice. In the wider world, Palladio’s reputation has been nurtured by a text he wrote and illustrated, "Quattro Libri dell’Architettura". His influence spread to St Petersburg and to Charlottesville in Virginia, where Thomas Jefferson commissioned a Palladian villa he called Monticello.
Vicenza’s show contains detailed models of the major buildings and is leavened by portraits of Palladio’s teachers and clients by Titian, Veronese and Tintoretto; the paintings of his Venetian buildings are all by Canaletto, no less. This is an uncompromising exhibition; many of the drawings are small and faint, and there are no sideshows for children, but the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm. Palladio is history’s most therapeutic architect.
“Palladio, 500 Anni: La Grande Mostra" is at Palazzo Barbaran da Porto, Vicenza, until January 6th 2009. The exhibition continues at the Royal Academy of Arts, London, from January 31st to April 13th, and travels afterwards to Barcelona and Madrid.
Questions
Questions 1–7 True / False / Not Given
Do the following statements agree with the information given in Reading Passage 1?
TRUE if the statement agrees with the information
FALSE if the statement contradicts the information
NOT GIVEN if there is no information on this
Questions 8–13 Short Answers
Complete the sentences below.
Choose NO MORE THAN THREE WORDS from the passage for each answer.
Answers & Explanations Summary
| # | Answer | Evidence | Explanation |
|---|---|---|---|
| Q1 | NOT GIVEN | The exhibition has the special advantage of being held in one of Palladio's buildings, Palazzo Barbaran da Porto | Excerpt/Passage Explanation: The passage tells us that the art show is happening inside one of the buildings made by Palladio, called Palazzo Barbaran da Porto. It highlights that this is a good thing, but it doesn't say anything about the building being new or recently fixed. Answer Explanation: The answer, 'NOT GIVEN,' means that the passage does not tell us if the building where the art show is happening has been fixed up or improved recently. The passage simply doesn't talk about that. Reason For Correctness: The correct answer is 'NOT GIVEN' because the passage mentions the building where the exhibition is located, which is 'Palazzo Barbaran da Porto,' and describes its features and design. However, the passage does not provide any information about whether this building has been 'newly renovated' or not. It only states 'The exhibition has the special advantage of being held in one of Palladio's buildings, Palazzo Barbaran da Porto.' The details provided after this describe the building's architectural style and original design by Palladio, not any recent changes or repairs. |
| Q2 | TRUE | On the second floor the pediments are alternately curved or pointed, a Palladian trademark. The harmonious proportions of the atrium at the entrance lead through to a dramatic interior of fine fireplaces and painted ceilings. Palladio’s design is simple, clear and not over-crowded | Excerpt/Passage Explanation: The passage explains that on the second floor of Palazzo Barbaran da Porto, there are triangle-shaped parts called pediments that are sometimes rounded and sometimes pointed. It highlights this specific design as 'a Palladian trademark,' meaning it's a special and common feature of Palladio's work. It then describes the rest of the building's design as 'simple, clear and not over-crowded,' which are also qualities of Palladio’s style as seen in this building. Answer Explanation: The answer, TRUE, means that the statement is correct based on the information in the passage. It means Palazzo Barbaran da Porto is a good example of how Andrea Palladio usually designed buildings. Reason For Correctness: The correct answer is TRUE because the passage describes Palazzo Barbaran da Porto using words that highlight it as an example of Palladio's usual building style. It mentions specific features of the building, like the 'pediments are alternately curved or pointed,' and then clearly states this is 'a Palladian trademark'. It also says that 'Palladio’s design is simple, clear and not over-crowded' when talking about the interior of this very building. This shows that the Palazzo has key features that are common in Palladio's architecture, making it a typical representation of his work. |
| Q3 | FALSE | Palladio's father was a miller who settled in Vicenza, where the young Andrea was apprenticed to a skilled stonemason | Excerpt/Passage Explanation: The passage says that Palladio's father worked as a 'miller'. A miller is someone who makes flour from grain. It does not say he was an architect. Answer Explanation: The answer means that the statement, "Palladio's father worked as an architect," is not correct or true. Reason For Correctness: The correct answer is FALSE because the passage tells us what Palladio's father's job was. It clearly states that he was a 'miller,' which means he made flour, not that he was an architect who designed buildings. The statement contradicts the information given in the passage. |
| Q4 | NOT GIVEN | He was plainly intelligent, and lucky enough to come across a rich patron, Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman architecture and the work of other influential architects of the time, such as Donato Bramante and Raphael | Excerpt/Passage Explanation: The passage explains that Palladio was smart and found a rich person, Gian Giorgio Trissino, who helped him get an education. Trissino took him to Rome so he could learn about famous old buildings and other architects' work. This part tells us who helped him learn, but not if his family refused to pay. Answer Explanation: The answer 'NOT GIVEN' means that the passage does not tell us if Palladio's family said no to paying for his schooling to become an architect. We don't have enough information from the text to say if this statement is true or false. Reason For Correctness: The correct answer is 'NOT GIVEN' because the passage explains how Andrea Palladio received his education but does not mention his family's involvement in paying for it, or whether they refused to pay. The passage states that a 'rich patron, Gian Giorgio Trissino' was the one 'who organised his education'. There is no information about his family's financial decisions regarding his studies in architecture. |
| Q5 | FALSE | and, after a fire at the Ducal Palace, he offered an alternative design which bears an uncanny resemblance to the Banqueting House in Whitehall in London. Since it was designed by Inigo Jones, Palladio’s first foreign disciple, this is not as surprising as it sounds | Excerpt/Passage Explanation: The passage says that Palladio made a different design for the Ducal Palace. This design looked a lot like (bears an uncanny resemblance to) the Banqueting House in London, England. But it then explains that this is not strange, because the Banqueting House was made by Inigo Jones, who was Palladio's first student from another country (Palladio’s first foreign disciple). This means Jones copied Palladio's style, so Palladio's design was not based on Jones's building. Answer Explanation: The answer is FALSE. This means the statement that Palladio's design for the Ducal Palace was inspired by an English building is not correct. Reason For Correctness: The correct answer is FALSE because the passage explains that Palladio's design for the Ducal Palace looked like (resembled) an English building called the Banqueting House. However, it also clarifies that the Banqueting House was designed by Inigo Jones, who was Palladio's 'first foreign disciple'. This means Inigo Jones learned from Palladio. So, the English building looked like Palladio's style because its architect was a student of Palladio, not the other way around. Palladio's design was not 'based on' the English building. |
| Q6 | TRUE | Palladio’s work for rich landowners alienates unreconstructed critics on the Italian left, but among the papers in the show are designs for cheap housing in Venice | Excerpt/Passage Explanation: The passage says that Palladio made buildings for important and 'rich landowners'. But it also says that in the exhibition, there are his plans for 'cheap housing' in Venice, which means homes for people who don't have much money. Answer Explanation: The answer means that Palladio made plans for buildings for both rich people and poor people. Reason For Correctness: The correct answer is TRUE because the passage tells us that Palladio worked for 'rich landowners' and also created 'designs for cheap housing in Venice'. This shows he designed buildings for people with a lot of money and for those with less money, covering both groups. |
| Q7 | TRUE | Vicenza’s show contains detailed models of the major buildings and is leavened by portraits of Palladio’s teachers and clients by Titian, Veronese and Tintoretto; the paintings of his Venetian buildings are all by Canaletto, no less | Excerpt/Passage Explanation: The passage says that the exhibition in Vicenza has models of buildings and also includes 'portraits', which are paintings of people, made by famous artists like Titian, Veronese, and Tintoretto. It also mentions paintings of buildings by Canaletto. Answer Explanation: The answer is 'TRUE'. This means the statement is correct and matches the information in the reading passage. Reason For Correctness: The correct answer is TRUE because the passage states that the exhibition includes artworks by famous painters. It specifically mentions 'portraits of Palladio’s teachers and clients by Titian, Veronese and Tintoretto', which means there are paintings of people created by well-known artists. |
| Q8 | stonemason | the young Andrea was apprenticed to a skilled stonemason | Excerpt/Passage Explanation: The passage says that young Andrea, who is Palladio, started learning a job by being 'apprenticed' to a 'skilled stonemason'. This means he worked for a person who was good at cutting and shaping stone, learning the job from them. Answer Explanation: The answer is 'stonemason'. This means Palladio was learning to work with stone, like cutting and shaping it, before he became an architect. Reason For Correctness: The correct answer is 'stonemason' because the passage clearly states what Palladio was learning to do before he became an architect. The text mentions that as a young man, he 'was apprenticed to a skilled stonemason'. This word directly answers what job he was training for. |
| Q9 | Gian Giorgio Trissino | Gian Giorgio Trissino, a landowner and scholar, who organised his education, taking him to Rome in the 1540s, where he studied the masterpieces of classical Roman architecture | Excerpt/Passage Explanation: The passage says that Gian Giorgio Trissino, a rich and smart person, helped Palladio get an education. He took Palladio to Rome so Palladio could learn by looking at famous old Roman buildings. Answer Explanation: The answer is Gian Giorgio Trissino. This is the name of the person who helped Palladio learn about architecture. Reason For Correctness: The correct answer is Gian Giorgio Trissino because the passage states that he was a 'rich patron' who 'organised his education'. This education involved taking Palladio to Rome where he 'studied the masterpieces of classical Roman architecture', which means he arranged Palladio's architectural studies. |
| Q10 | Inigo Jones | Since it was designed by Inigo Jones, Palladio’s first foreign disciple, this is not as surprising as it sounds | Excerpt/Passage Explanation: The passage explains that because a certain design was created by Inigo Jones, who was Palladio's very first student from another country, it's not strange that it looked similar to Palladio's work. Answer Explanation: The answer, Inigo Jones, tells us the name of the first architect from a different country who was inspired by Andrea Palladio's style. Reason For Correctness: The correct answer is Inigo Jones because the passage explicitly identifies him as "Palladio’s first foreign disciple." The word "foreign" here means 'from another country', indicating he was not Italian, and "disciple" means someone who learns from another. This confirms he was the first non-Italian architect to be influenced by Palladio. |
| Q11 | temple / temple architecture | What they show is how Palladio drew on the buildings of ancient Rome as models. The major theme of both his rural and urban building was temple architecture, with a strong pointed pediment supported by columns and approached by wide steps | Excerpt/Passage Explanation: The passage says that Palladio looked at old buildings from Rome to get ideas for his own work. His main style for both country and city buildings was 'temple architecture,' which means buildings that looked like temples with a triangle roof part called a pediment, held up by tall columns, and with big steps leading up to them. Answer Explanation: The answer, 'temple architecture,' means that Palladio mostly got his ideas from old Roman buildings that looked like temples. Reason For Correctness: The correct answer is 'temple architecture' because the passage clearly states that Palladio used buildings from 'ancient Rome as models.' It then explains that 'The major theme of both his rural and urban building was temple architecture,' showing this was his main source of inspiration. |
| Q12 | Quattro Libri dell'Architettura | In the wider world, Palladio’s reputation has been nurtured by a text he wrote and illustrated, "Quattro Libri dell’Architettura" | Excerpt/Passage Explanation: The passage explains that around the world, Palladio became more well-known and respected because of a book he wrote and drew pictures for. The name of that book was "Quattro Libri dell'Architettura." Answer Explanation: The answer is 'Quattro Libri dell'Architettura'. This is the name of a book that Palladio wrote. Reason For Correctness: The correct answer is found in the passage where it talks about how Palladio became more famous. It states that his reputation became stronger because of a book he wrote. The passage directly points out that this book was named "Quattro Libri dell’Architettura." |
| Q13 | benevolent calm | but the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm | Excerpt/Passage Explanation: The passage explains that even though some parts of the exhibition might be hard to see, the beautiful and balanced designs will make people feel a gentle peace and quiet inside. Answer Explanation: The answer, 'benevolent calm,' means a visitor will feel a kind and peaceful quietness inside them. Reason For Correctness: The correct answer is 'benevolent calm' because the passage states that the design of the exhibition makes people feel this way. It mentions that 'the impact of harmonious lines and satisfying proportions is to impart in a viewer a feeling of benevolent calm.' This directly tells us what visitors will experience. |