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    <titleInfo>
        <title>Palladio’s drawings: a self-portrait on paper</title>
    </titleInfo>
    <name type="personal">
        <namePart type="family">Beltramini</namePart>
        <namePart type="given">Guido</namePart>
        <role>
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    <name type="corporate">
        <namePart>Columbia University. Italian Academy</namePart>
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        <publisher>Italian Academy for Advanced Studies in America, Columbia University</publisher>
        <dateIssued encoding="w3cdtf" keyDate="yes">2010</dateIssued>
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    <abstract>Palladio&apos;s drawings tell us a good deal about him as an architect and as a scholar of ancient ruins as well as providing some insights into his character, his way of conceiving the profession and also his vision of the world. Together with his buildings and the pages of the Quattro Libri, his drawings provide the largest window onto his creative activities. There are almost 300 sheets, a huge mine of information compared to the scanty written testimonies, such as the meagre construction site documents, a handful of personal letters, Vasari&apos;s short profile, Paolo Gualdo&apos;s posthumous biography and a few passing mentions in the diary of his friend Fabio Monza or in the verse of Giambattista Maganza.</abstract>
    <subject>
        <topic>Art history</topic>
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            <title>Italian Academy Fellows&apos; Seminar Working Papers</title>
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    <identifier type="hdl">http://hdl.handle.net/10022/AC:P:14839</identifier>

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