VILLANUEVA, Juan de

The key figure in the diffusion of Neoclassical architecture in Spain was Juan de Villanueva. His first large commission was for the erection of two casitas (country houses) in San Lorenzo de El Escorial. They were integrated into the garden of the estate and enjoyed great popularity; because of their intimate character they allowed for a less inhibited treatment of new stylistic forms.

In the Casita del Pr�ncipe in El Pardo five independent structures are enclosed within the parenthesis of the entablature’s theme. This solution clearly anticipates Villanueva’s Museo del Prado in Madrid.

The photo shows the central projection of the fa�ade.

The Observatorio Astron�mico was Villanueva’s last great creation. This building on a cruciform ground plan is, in spite of many changes, an important example of how Neo-classical design penetrated Spanish architecture. Functionality and geometric rigor were the criteria for the design: in contrast with the Corinthian portico with a central reception room dictated by the rotunda, variety was introduced into the scheme and a setting was made for decorative features. Nevertheless, the building is practical to the highest degree.

The Observatorio Astron�mico was Villanueva’s last great creation. This building on a cruciform ground plan is, in spite of many changes, an important example of how Neo-classical design penetrated Spanish architecture. Functionality and geometric rigor were the criteria for the design: in contrast with the Corinthian portico with a central reception room dictated by the rotunda, variety was introduced into the scheme and a setting was made for decorative features. Nevertheless, the building is practical to the highest degree.

The Observatorio Astron�mico was Villanueva’s last great creation. This building on a cruciform ground plan is, in spite of many changes, an important example of how Neo-classical design penetrated Spanish architecture. Functionality and geometric rigor were the criteria for the design: in contrast with the Corinthian portico with a central reception room dictated by the rotunda, variety was introduced into the scheme and a setting was made for decorative features. Nevertheless, the building is practical to the highest degree.

The Prado was not originally designed as an art gallery. In 1785, after the plans of Ventura Rodr�guez had been rejected, Villanueva completed several designs for a science museum and the academy of science. Constructed later, and not finally completed until 1819, the building retained the basic layout of these sketches.

Although there are close ties with the model of the Museo Pio-Clementino in the Vatican, El Prado as a museum open to the public set the standard for later ages.

The picture shows the main fa�ade of the building.

The Prado was not originally designed as an art gallery. In 1785, after the plans of Ventura Rodr�guez had been rejected, Villanueva completed several designs for a science museum and the academy of science. Constructed later, and not finally completed until 1819, the building retained the basic layout of these sketches.

Although there are close ties with the model of the Museo Pio-Clementino in the Vatican, El Prado as a museum open to the public set the standard for later ages.

The picture shows the north fa�ade of the building.

The exhibition spaces of the museum are in the Roman style, with coffered half-barrel vaults and domes. Although indebted to the Museo Pio-Clementino in the Vatican, the Prado became a model for public museums of later epochs.

The photo shows a view into the gallery.

The exhibition spaces of the museum are in the Roman style, with coffered half-barrel vaults and domes. Although indebted to the Museo Pio-Clementino in the Vatican, the Prado became a model for public museums of later epochs.

The photo shows a view into the room of the Meninas.

The Bourbons expanded the extensive gardens and palace complex in Aranjuez on numerous occasions, adapting them to the needs of the court. Villanueva contributed two exceptionally charming pavilions to the park. One has the form of a classical round temple and the other is in the shape of a Chinese pagoda.