Palladian

[I]f in this the moſt conſummat act of his fidelity and ripeneſſe, no years, no induſtry, no former proof of his abilities can bring him to that ſtate of maturity, as not to be ſtill miſtruſted and ſuſpected, unleſſe he carry all his conſiderat diligence, all his midnight watchings, and expence of Palladian oyl, to the haſty view of an unleaſur'd licencer, perhaps much his younger, perhaps far his inferiour in judgement, [...]

I dwell upon this point, in the view of explaining and, as to one letter, correcting a memorable passage of Sophocles concerning the Palladian olive tree; in which he says, that it is a plant, preserved by Jove and Athena, in order to confound the enemies of Athens, and adds "that no man, young or old, (i.e. now or ever,) shall render it vain and of none effect, by pointing it out with his finger to the Persians."

She threw forward her arms, as if with spear and buckler. Miss Barfoot was smiling at this Palladian attitude when a servant announced two ladies, Mrs. Smallbrook and Miss Haven.

the figure for Palladian wisdom and chastity

Where mentioned at all in historical discussions it [Elizabethan drama] is typically in passing, with the primary focus either on the continuity that Tudor drama has with the medieval folk drama, or simply on that drama itself, as virtually a Palladian birth in the reign of Elizabeth [I], fathered indeed by the great Zeus of the Renaissance [William Shakespeare], as most commentators recognize, but in whose original inspiration the contribution of the discipline of rhetoric specifically is not apparently of special moment.

the object 3200 Phaethon, which is thought to be a Palladian asteroid

You ſhow us, Rome was glorious, not profuſe, / And pompous Buildings once were things of uſe. / Yet ſhall (my Lord) your juſt, your noble Rules / Fill half the land with Imitating Fools: / […] / Conſcious they act a true Palladian part, / And if they ſtarve, they ſtarve by the Rules of Art.

His [William Kent's] claim to this fellowship to the Palladian school rests upon the felicitous manner in which he caught its sentiment, and the rich and varied assistance he threw into the Palladian structure.

We can quite, therefore, go to the length of thinking that perhaps the most suitable churches in which to revive the mosaic-medallion window are the Palladian churches of London. […] Surely Romanesque and Palladian are homogeneous deflections from classical art, and are not unreasonably interchangeable.

The Palladian window of the end wall is a masterpiece, however, in its admirable proportions, its relationship to the wall and the restrained decorative quality of the details. It is deserving of admiration in its own right as well as being historically interesting as the first appearance of the Palladian motive in American Georgian architecture.

It [the house] was Palladian of a sort, since even I could see it was not good Palladian. Too high for its width, its portico was stunted and the wings which ran out on either side were too short and too low to give grace and style to the elevation.

And he had always thought that a Palladian villa set in a verdant English park was a very beautiful sight. He saw it as the perfect marriage of a building with nature.

What is quite certain that Georgian Palladianism without him [Colen Campbell] would have developed later and would have been quite different, and the legacy of the English Palladians, accepted but rarely acknowledged by their most adventurous but no more dedicated successors, would have been less rich.

[Peter Paul] Rubens' credo could be a rubric for [Joseph] Furttenbach's work. He is not a Palladian like [Heinrich von] Schickhardt, but takes up Italian Renaissance architecture in a both geographically and temporally broad span, attempting to make it a model for Central European requirements.

To compound the problem, when the collaborations were over and [Nicholas] Hawksmoor came into his own, as it were, designing six churches by himself, the neo-Palladians were coming into fashion, displacing, and even dismissing, their baroque contemporaries.

Anything [i.e., any type of window] with a rounded top became known as a Palladian and was seen as an instant evocation of history, status, class, and tradition. In some cases, an oversized Palladian filled an entire facade of a house.

From the outside, Strokestown House is a most attractive building. [...] And unlike some of the monster Palladians in this country, places like Castletown or Powerscourt, both near Dublin, Strokestown, being in the uncivilized west, is a far more modest proposition and thereby more appealing and approachable.