ticoAg/ChineseCorpus-Kaggle-fanti huggingface dataset:
1738年（乾隆3年），設高坡司、番召司、南市司，置土千總；同年設番隴司、巫漏司、龍塘司、容山司、展架司，置土把總。1914年（民國3年）臺拱廳改為臺拱縣，1941年臺拱縣與丹江縣的一部分合併，成為臺江縣。
臺拱廳城垣在今日的臺拱鎮，1958年後，臺拱廳城垣被陸續拆除，現僅存西北一段。
*《新校本清史稿》，地理二十二，貴州，鎮遠府
少女體，是一種中文字體，由華康科技（今名「威鋒數位」）所製作，屬於TrueType字體。與娃娃體同屬華康字庫的著名字體。在外型及風格上，少女體筆劃線條柔和，不拘謹，常被用於卡通設計等領域。
韓偉，江蘇銅山人，臺灣學者，曾任中原大學校長。
父親是韓時俊（1901－1978年），母親范忠恕（1900－1961年）。在國防醫學院借讀時曾是運動校隊球員，擔任排球搥手、籃球後衛之職。留學美國賓州大學期間，受教於Doctor John Brobeck，研究內分泌及肥胖關係。其後留校任職，並昇任至終身教授職。
1970年，受張靜愚之邀，返臺接任謝明山（返臺前由馮之斅代理）擔任臺灣中原大學校長（後由阮大年繼任校長），其後又被委任為陽明醫學院院長。
韓偉擔任校長期間，曾延攬多位海外學人回國任教。先後有鄭士昶、葉玉堂、熊慎幹、黃天賜、曹國雄、王晃三、阮大年、尹士豪、江彰吉、黃健生、董世平、林祐輔、黃惠民等人。1984年8月4日，盛年之際因腦癌（膠原質多態癌細胞）逝世。
韓偉配偶為吳期敏，長子中天，次子中地，女兒華寧。
陳潔是中國女演員。畢業於北京電影學院表演系，現在是北京電影學院表演系學士。曾在北京京劇院學習了七年的武旦表演。
※粗體字主要以主角的身份出演。
*《華夏演義》（又名：《古老的傳說》）飾 六仙女
*《八百里洞庭我的家》 飾 易含笑
*《一代大商孟洛川》 飾 鐘六姐
*《激情燃燒的歲月 二》 飾 肖清白
*2014年《靈魂擺渡第一季》(網絡劇) 飾 冥王茶茶
*2014年《終極對決》飾 候鳳姑
*2014年《槍俠》飾 鮑滿春
*2014年《大清鹽商》飾 婉兒
*2015年《待嫁老爸》飾 張曼妮
*2015年《大秧歌》飾 竹葉青
*2015年《靈魂擺渡第二季》(網絡劇) 飾 冥王茶茶
*2016年《護寶風云》 飾 茉莉子
*2016年《再見，老婆大人》 飾 畢婷
*2016年《靈魂擺渡第三季》(網絡劇) 飾 冥王茶茶
*2017年《浪花淘盡》 飾 祝夢桐
*2018年《天下糧田》飾 孝賢皇后
*2018年《外灘鐘聲》飾 苗招娣
*2019年《讓我聽懂你的語言》飾 張美嘉
*2019年《勇敢者》飾 段飛燕
*《靈魂擺渡》第一季到第三季 飾 冥王茶茶
*2019年《七劍下天山之修羅眼》(網絡電影)
*待上映《白發魔女傳之血鳳凰》(網絡電影)
*待上映《靈魂擺渡·黃泉》(網絡電影)
啟體是著名書法家啟功所創的字體。因博采眾長又自成一家，故名之。侯磊這樣評價啟體：
啟體（方正）
由師承啟功的書法家秦永龍書寫、方正集團開發出的計算機字體。兼有簡體、繁體兩套字庫。
一座帶有雙層門廊的別墅，摘自帕拉第奧的《建筑四部曲》(''I quattro libri dell'architettura)''第四卷，英文譯本于1736年在倫敦出版。
圓廳別墅(Villa Rotonda)的規劃方案。在接下來的幾個世紀里，歐洲的許多帕拉第奧風格的建筑都融入了這座別墅的特色。
帕拉第奧式建筑是一種歐洲的建筑風格。這種風格靈感來源于文藝復興晚期威尼斯建筑師安德里亞·帕拉第奧（Andrea Palladio，1508-1580）的設計。現在所說的帕拉第奧式建筑的是指對帕拉第奧最初概念的深化。帕拉第奧的作品是基于古希臘和古羅馬古典神廟建筑的對稱性、透視性和展現的價值來構建的。從17世紀起，帕拉第奧對這些古典建筑的詮釋被統稱為“帕拉第奧主義”（Palladianism）風格。這種風格一直發展到18世紀末。
在17世紀的英國，帕拉第奧主義曾一度盛行，但由于英國內戰的爆發和隨之而來的財政緊縮政策的實施，它的繁榮被打斷了。在18世紀早期，帕拉第奧主義重新流行起來。其他歐洲國家，例如普魯士也受到英國的直接影響。當時，弗朗西斯科·阿爾加羅蒂伯爵從柏林寫信給伯靈頓勛爵，向腓特烈大帝建議在普魯士采用伯靈頓在英國引入的建筑風格。17世紀晚期，當這種風格在歐洲失寵時，卻在北美的英國殖民地大受歡迎，著名建筑有南卡羅來納州的德雷頓大廳、羅德島州紐波特的紅木圖書館、紐約市的莫里斯·朱梅爾大廈、馬里蘭州安納波利斯的哈蒙德·哈伍德大廈和弗吉尼亞州的蒙蒂塞洛。
19世紀到20世紀初，帕拉第奧式風格重新在歐洲流行，常被用于公共和市政建筑的設計。從19世紀后半葉開始，這種風格被流行于英語國家的哥特復興風格所抵制。哥特復興主義的追隨者奧古斯都·普金（Augustus Pugin）等結合帕拉第奧主義在古代廟宇中的起源，認為它相對于英國國教和英國天主教的信奉者來說太過異端。當然，作為一種建筑風格，帕拉第奧式建筑繼續流行并不斷發展著：它的山花、對稱性和比例等要素在等當今許多現代建筑的設計中都有明顯體現。
哥迪別墅中的“真正的帕拉第奧主義”，出自帕拉第奧《建筑四部曲》(''I quattro libri dell'architettura''.)。兩個耳房是農業建筑，不是別墅的一部分。18世紀時，這一要素成為帕拉第奧主義建筑的重要組成部分。
完全由帕拉第奧設計的建筑都位于威尼斯和威尼托，其中最著名的當屬維琴察的宮殿群，包括別墅和教堂，如威尼斯的紅樓大教堂。帕拉第奧的建筑論文也遵循了古羅馬建筑師維特魯威和他15世紀的效仿者利昂·巴蒂斯塔·阿爾貝蒂所定義的原則：學習古羅馬建筑那樣基于數學比例的風格，而不是模仿文藝復興時期的華麗裝飾風格。
帕拉第奧的別墅設計非常契合它所處的環境。例如坐落在山坡上的卡普拉別墅，各個方向的立面被設計的具有同等價值，以便居住者從各個方向欣賞美景。而且在這種情況下，所有側面都修建有門廊，以便居住者充分欣賞鄉村風光，同時避免陽光直射。帕拉第奧有時也會用涼廊來代替門廊。這就像一個嵌入式的門廊，或者一個內部的單層房間。有時，二樓的涼廊會被放置在一層涼廊頂部上方，形成一種雙涼廊。涼廊的正面有時會被山花所覆蓋，從而具有重要意義。戈迪別墅的集中點是一個終止于主樓兩端的涼廊。
帕拉第奧經常以古羅馬神廟的正面為藍本設計別墅立面。神廟的十字形設計元素，成為了帕拉第奧作品的一個標志。帕拉第奧設計的別墅通常分為三層：最底層是一間粗琢的地下室或一樓，包含一些小房間。在這上面，主樓層通過門廊進入，門廊上有一段外部臺階，包括主要的會客室和主臥室。門廊上方是一個低夾層樓層，帶有次要的臥室和起居室。別墅內每個房間的尺寸都契合某種簡單的比例，如3:4和4:5，建筑內的不同房間通過這些比例聯系起來。早期的建筑師一般使用這些公式來平衡建筑單個的對稱立面，而帕拉第奧的設計則涉及整個方形的別墅的形態。
帕拉第奧深入地思考了他的別墅的雙重用途：農舍和商人的豪華周末休養地。這些對稱的廟宇式房屋通常都有同樣對稱但較低的耳房，以容納馬、農場動物和開設農產品商店。耳房有時通過柱廊與別墅分離并連接，其設計不僅具有功能性，還可以補充和突出別墅的形態。
帕拉第奧的著作《建筑四書》最早出版于1570年，包含了對他自己的建筑以及啟發他創造這種風格的古羅馬建筑的描述和插圖。帕拉第奧重新詮釋了古羅馬的建筑，并將其應用于各種建筑設計當中，從宏偉的別墅和公共建筑到簡單的房屋和農舍。維琴察的帕拉第奧巴西利卡一角， 立面上是帕拉第奧窗。
帕拉第奧的建筑作品中帕拉第奧式、塞里安式或威尼斯式的窗戶，幾乎是他早期職業生涯的標志。這一母題有兩個不同的版本：一種更簡單的稱為威尼斯窗，另一種更精致、更具體的稱為帕拉第奧窗或“帕拉第奧母題”，盡管這種區別不太明顯。
威尼斯窗由三部分組成：中間是一個高的圓拱形開口，兩側有兩個較小的矩形開口，后者頂部有過梁，由柱子支撐。威尼斯窗靈感來源于古羅馬的凱旋門，最初由多納托·伯拉孟特（Donato Bramante）在威尼斯城外使用。后來塞巴斯蒂亞諾·塞利奧（Sebastiano Serlio，1475-1554）在其建筑著作《建筑歌劇集》（Tutte l'Opre d'architettura et prospetiva）這本介紹維特魯威和古羅馬建筑的理想的書中闡釋。威尼斯窗可以串聯使用，但通常只在正面使用一次，例如新沃都爾城堡；或是每一端使用一次，例如伯靈頓住宅的內立面（被稱為"真正的帕拉第奧式窗戶"）。
帕拉第奧對威尼斯窗的闡述為：在每個窗戶之間放置一個巨柱式，并將支撐側過梁的小柱子加倍，將第二根柱子放在第一根柱子的后面，而不是旁邊。事實上，雅格波·桑索維諾（1537）在威尼斯的馬西亞納圖書館（Biblioteca Marciana）中介紹了這一點。帕拉第奧在維琴察的帕拉第奧巴西利卡（Basilica Palladiana）中大量使用了威尼斯窗。這里的開口并不是嚴格意義上的窗戶，因為它們圍成了涼廊。在其他情況下，壁柱可能會取代柱子。約翰·薩默森爵士建議省略雙柱，但術語“帕拉第奧母題”應僅限于存在較大柱式的情況。
帕拉第奧廣泛使用了這些元素。也許正是由于威尼斯人對這些母題的廣泛使用，才使這扇窗戶有了威尼斯人窗戶的另一個名字:Serlian窗。無論名稱或起源如何，在后來從帕拉第奧主義演變而來的建筑風格中可以看到，這種形式的窗戶已經成為帕拉第奧作品中最持久的特征之一。根據詹姆斯·里斯·米爾恩的說法，它在英國的首次亮相是在倫敦伯靈頓大廈的改造耳房。它的直接來源實際上是伊尼戈·瓊斯對白廳宮殿的設計，而不是出自帕拉第奧本人。白金漢郡的克萊登宮（始建于1757年）:中央海灣的威尼斯窗被一個統一的盲拱所包圍。這座房子原本是一座巨大的帕拉第奧式房屋的兩翼之一。這項計劃從未完成。
In 1570 Palladio published his book, ''I quattro libri dell'architettura'', which inspired architects across Europe.
During the 17th century, many architects studying in Italy learned of Palladio's work. Foreign architects then returned home and adapted Palladio's style to suit various climates, topographies and personal tastes of their clients. Isolated forms of Palladianism throughout the world were brought about in this way. However, the Palladian style did not reach the zenith of its popularity until the 18th century, primarily in England, Wales, Scotland, Ireland and later North America. In Venice itself there was an early reaction to the excesses of Baroque architecture that manifested itself as a return to Palladian principles. The earliest neo-Palladians there were the exact contemporaries, both trained up as masons, Domenico Rossi (1657–1737) and Andrea Tirali (1657–1737). 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.
Inigo Jones was the designer of the Queen's House, Greenwich, begun in 1616, the first English Palladian house.
The most influential follower of Palladio anywhere, however, was the Englishman Inigo Jones, who travelled throughout Italy with the 'Collector' Earl of Arundel, annotating his copy of Palladio's treatise, in 1613–14. The "Palladianism" of Jones and his contemporaries and later followers was a style largely of facades, and the mathematical formulae dictating layout were not strictly applied. A handful of great country houses in England built between 1640 and 1680, such as Wilton House, are in this Palladian style. These follow the great success of Jones' Palladian designs for the Queen's House at Greenwich and the Banqueting House at Whitehall, the uncompleted royal palace in London of King Charles I.
However, the Palladian designs advocated by Inigo Jones were too closely associated with the court of Charles I to survive the turmoil of the English Civil War. Following the Stuart restoration, Jones's Palladianism was eclipsed by the Baroque designs of such architects as William Talman and Sir John Vanbrugh, Nicholas Hawksmoor, and even Jones' pupil John Webb.
The Baroque style, popular in continental Europe, was never truly to the English taste and was considered excessively flamboyant, Catholic and 'florid'. It was quickly superseded when, in the first quarter of the 18th century, four books were published in Britain which highlighted the simplicity and purity of classical architecture. These were:
# ''Vitruvius Britannicus'', published by Colen Campbell in 1715 (of which supplemental volumes appeared through the century),
# Palladio's ''I quattro libri dell'architettura'', translated by Giacomo Leoni and published from 1715 onwards,
# Leon Battista Alberti's ''De re aedificatoria'', translated by Giacomo Leoni and published 1726,
# ''The Designs of Inigo Jones... with Some Additional Designs'', published by William Kent, 2 vols., 1727 (A further volume, ''Some Designs of Mr. Inigo Jones and Mr. William Kent'' was published in 1744 by the architect John Vardy, an associate of Kent.)
Stourhead House, East facade, based on Palladio's Villa Emo. Image is from Colen Campbell's ''Vitruvius Britannicus''
The most favoured of these among the wealthy patrons of the day was the four-volume ''Vitruvius Britannicus'' by Colen Campbell. Campbell was both an architect and a publisher. It was essentially a book of design containing architectural prints of British buildings, which had been inspired by the great architects from Vitruvius to Palladio; at first mainly those of Inigo Jones, but the later works contained drawings and plans by Campbell and other 18th-century architects. These four books greatly contributed to Palladian architecture becoming established in 18th-century Britain. Their authors became the most fashionable and sought after architects of the era. Due to his book ''Vitruvius Britannicus'', Colen Campbell was chosen as the architect for banker Henry Hoare I's Stourhead house, a masterpiece that became the inspiration for dozens of similar houses across England.
At the forefront of the new school of design was the aristocratic "architect earl", Richard Boyle, 3rd Earl of Burlington. In 1729, he and William Kent, designed Chiswick House. This House was a reinterpretation of Palladio's Villa Capra, but purified of 16th century elements and ornament. This severe lack of ornamentation was to be a feature of the English Palladianism. In 1734 William Kent and Lord Burlington designed one of England's finest examples of Palladian architecture with Holkham Hall in Norfolk. The main block of this house followed Palladio's dictates quite closely, but Palladio's low, often detached, wings of farm buildings were elevated in significance. Kent attached them to the design, banished the farm animals, and elevated the wings to almost the same importance as the house itself. These wings were often adorned with porticos and pediments, often resembling, as at the much later  Kedleston Hall, small country houses in their own right. It was the development of the flanking wings that was to cause English Palladianism to evolve from being a pastiche of Palladio's original work.
English Palladianism. Woburn Abbey, designed by Burlington's student Henry Flitcroft in 1746. Palladio's central temple is no longer free standing, the wings are now elevated to near equal importance, and the cattle sheds terminating Palladio's design are now clearly part of the fa?ade.
Architectural styles evolve and change to suit the requirements of each individual client. When in 1746 the Duke of Bedford decided to rebuild Woburn Abbey, he chose the Palladian style for the design, as this was now the most fashionable of the era. He selected architect Henry Flitcroft, a protégé of Burlington. Flitcroft's designs, while Palladian in nature, would not be recognised by Palladio himself. The central block is small, only three bays, the temple-like portico is merely suggested, and it is closed. Two great flanking wings containing a vast suite of state rooms replace the walls or colonnades which should have connected to the farm buildings; the farm buildings terminating the structure are elevated in height to match the central block and given Palladian windows, to ensure they are seen as of Palladian design. This development of the style was to be repeated in countless houses and town halls in Britain over one hundred years. Falling from favour during the Victorian era, it was revived by Sir Aston Webb for his refacing of Buckingham Palace in 1913. Often the terminating blocks would have blind porticos and pilasters themselves, competing for attention with, or complementing the central block. This was all very far removed from the designs of Palladio two hundred years earlier.
English Palladian houses were now no longer the small but exquisite weekend retreats from which their Italian counterparts were conceived. They were no longer villas but "power houses" in Sir John Summerson's term, the symbolic centres of power of the Whig "squirearchy" that ruled Britain. As the Palladian style swept Britain, all thoughts of mathematical proportion were swept away. Rather than square houses with supporting wings, these buildings had the length of the fa?ade as their major consideration: long houses often only one room deep were deliberately deceitful in giving a false impression of size.
During the Palladian revival period in Ireland, even quite modest mansions were cast in a neo-Palladian mould. Palladian architecture in Ireland subtly differs from that in England. While adhering as in other countries to the basic ideals of Palladio, it is often truer to them – perhaps because it was often designed by architects who had come directly from mainland Europe, and therefore were not influenced by the evolution that Palladianism was undergoing in Britain. Whatever the reason, Palladianism still had to be adapted for the wetter, colder weather.
Russborough, Co. Wicklow: a notable example of Irish Palladianism
One of the most pioneering Irish architects was Sir Edward Lovett Pearce (1699–1733), who became one of the leading advocates of Palladianism in Ireland. A cousin of Sir John Vanbrugh, he was originally one of his pupils, but rejecting the Baroque style, he spent three years studying architecture in France and Italy, before returning home to Ireland. His most important Palladian work is the former Irish Houses of Parliament in Dublin. He was a prolific architect who also designed the south fa?ade of Drumcondra House in 1725 and Summerhill House in 1731, which was completed after Pearce's death by Richard Cassels.
Pearce oversaw the building of Castletown House, near Dublin, 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.
Other examples include Russborough, designed by Cassels, who also designed the Palladian Rotunda Hospital in Dublin and Florence Court in County Fermanagh. Irish Palladian country houses often feature robust Rococo plasterwork, frequently executed by the Lafranchini brothers, an Irish specialty, which is far more flamboyant than the interiors of their contemporaries in England. So much of Dublin was built in the 18th century that it set a Georgian stamp on the city; however arising out of bad planning and poverty, until recently Dublin was one of the few cities where fine 18th-century housing could be seen in ruinous condition. Elsewhere in Ireland after 1922, the lead was removed from the roofs of unoccupied Palladian houses for its value as scrap, with the houses often abandoned owing to excessive roof-rate based taxes. Some roofless Palladian houses can still be found in the depopulated Irish countryside.
The Rotunda at the University of Virginia, designed in the Palladian manner by Thomas Jefferson.
Palladio's influence in North America is evident almost from the beginning of architect-designed building there, though the Irish philosopher George Berkeley may have been America's pioneering Palladian. 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. In 1749, Peter Harrison adopted the design of his Redwood Library in Newport, Rhode Island, more directly from Palladio's ''I quattro libri dell'architettura'', while his Brick Market, also in Newport, of a decade later is also Palladian in conception.
The Hammond-Harwood House in Annapolis, Maryland (''illustration'') is an example of Palladian architecture in the United States. It is the only existing work of colonial academic architecture that was principally designed from a plate in Palladio's ''Quattro libri''. The house was designed by the architect William Buckland in 1773–74 for wealthy farmer Matthias Hammond of Anne Arundel County, Maryland. It was modeled on the design of the Villa Pisani in Montagnana, Italy in Book II, Chapter XIV of ''I quattro libri dell’achitettura.''
The politician and architect Thomas Jefferson (1743–1826) once referred to Palladio's  ''Quattro libri'' as his bible. Jefferson acquired an intense appreciation of Palladio's architectural concepts, and his designs for his own beloved Monticello, the James Barbour Barboursville estate, Virginia State Capitol, and the University of Virginia were based on drawings from Palladio's book. Realizing the powerful political significance pertaining to ancient Roman buildings, Jefferson designed his civic buildings in the Palladian style. 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. Jefferson's Pantheon or Rotunda at the University of Virginia is undeniably Palladian in concept and style.
The Hammond-Harwood House was modeled after the Villa Pisani at Montagnana from ''The Four Books of Architecture by Andrea Palladio''
In Virginia and Carolina, the Palladian manner is epitomised in numerous Tidewater plantation houses, such as Stratford Hall or Westover Plantation, or Drayton Hall near Charleston. These examples are all classic American colonial examples of a Palladian taste that was transmitted through engravings, for the benefit of masons—and patrons, too—who had no first-hand experience of European building practice. A feature of American Palladianism was the re-emergence of the great portico which, again, as in Italy, fulfilled the need of protection from the sun; the portico in various forms and size became a dominant feature of American colonial architecture. In the north European countries the portico had become a mere symbol, often closed, or merely hinted at in the design by pilasters, and sometimes in very late examples of English Palladianism adapted to become a porte-cochère; in America, the Palladian portico regained its full glory.
One house which clearly shows this Palladian-Gibbs influence is Mount Airy, in Richmond County, Virginia, built in 1758–62.
At Westover the north and south entrances, made of imported Portland stone, were patterned after a plate in William Salmon's ''Palladio Londinensis'' (1734).
The distinctive feature of Drayton Hall, its two-storey portico, was derived directly from Palladio.
The neoclassical presidential mansion, the White House in Washington, was inspired by Irish Palladianism. Both Castle Coole and Richard Cassel's Leinster House in Dublin claim to have inspired the architect James Hoban, who designed the executive mansion, built between 1792 and 1800. Hoban, born in Callan, County Kilkenny, in 1762, studied architecture in Dublin, where Leinster House (built c. 1747) was one of the finest buildings at the time. The White House is more neoclassical than Palladian, particularly the South fa?ade, which closely resembles James Wyatt's 1790 design for Castle Coole, also in Ireland. Castle Coole is, in the words of the architectural commentator Gervase Jackson-Stops, "A culmination of the Palladian traditions, yet strictly neoclassical in its chaste ornament and noble austerity."
One of the adaptations made to Palladianism in America was that the piano nobile, now tended to be placed on the ground floor rather than above a service floor, as was the tradition in Europe. This service floor, if it existed at all, was now a discreet semi-basement. This negated the need for an ornate external staircase leading to the main entrance as in the more original Palladian designs. This would also be a feature of the neoclassical style that followed Palladianism.
Nova Scotia Legislature Building, sandstone, 1819
The only two houses in the United States  from the English colonial period (1607–1776) that can be definitively attributed to designs from ''I quattro libri dell'architettura'' are architect William Buckland's Hammond-Harwood House (1774) in Annapolis, Maryland and Thomas Jefferson's first Monticello. The design source for the Hammond-Harwood House is Villa Pisani, Montagnana (Book II, Chapter XIV), and for the first Monticello (1770) the design source is Villa Cornaro at Piombino Dese (Book II, Chapter XIV). Thomas Jefferson later covered this fa?ade with additions so that the Hammond-Harwood House remains the only pure and pristine example of direct modeling in America today.
Because of its later development, Palladian architecture in Canada is rare. One notable example is the Nova Scotia Legislature building, completed in 1819.  Another example is Government House in St. John's, Newfoundland.
The Center for Palladian Studies in America, Inc., a non-profit membership organization, was founded in 1979 to research and promote understanding of Palladio's influence in the United States.
Portrait of Andrea Palladio from the 17th century
By the 1770s in Britain, such architects as Robert Adam and Sir William Chambers were in huge popular demand, but they were now drawing on a great variety of classical sources, including ancient Greece, so much so that their forms of architecture were eventually defined as neoclassical rather than Palladian. In Europe, the Palladian revival ended by the end of the 18th century. In North America, Palladianism lingered a little longer; Thomas Jefferson's floor plans and elevations owe a great deal to Palladio's ''Quattro libri.'' The term "Palladian" today is often misused, and tends to describe a building with any classical pretensions. There was, however, a revival of Palladian ideas amongst the colonial revivalists of the early 20th century, and the strain has been unbroken, even through the modernist period.
In the mid-20th century, the originality of the approach of the architectural historian Colin Rowe had the effect of re-situating the assessment of modern architecture within history and acknowledged the Palladian architecture as an active influence. In the later 20th century, when Rowe's influence had spread worldwide, this approach had become a key element in the process of architectural and urban design. If "the presence of the past" was evident in the work of many architects in the late 20th century, from James Stirling to Aldo Rossi, Robert Venturi, Oswald Matthias Ungers, Peter Eisenman, Michael Graves and others, this was largely due to the influence of Rowe. Colin Rowe's unorthodox and non-chronological view of history then made it possible for him to develop theoretical formulations such as his famous essay "The Mathematics of the Ideal Villa" (1947) in which he theorised that there were compositional "rules" in Palladio's villas that could be demonstrated to correspond to similar "rules" in Le Corbusier's villas at Poissy and Garches. This approach enabled Rowe to elaborate an astonishingly fresh and provocative trans-historical assessment of both Palladio and Le Corbusier, in which the architecture of both was assessed not in chronological time, but side by side in the present moment.
* Kerelaw House
* Poplar Forest
* Stoke Park Pavilions
* 賈科莫·奎朗(Giacomo Quarenghi)
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* Lewis, Hilary, and John O'Connor (1994). ''Philip Johnson: The architect in His Own Words''. New York: Rizzoli International Publications.
* Marten Paolo (1993). ''Palladio''. Koln: Benedikt Taschen Verlag GmbH. (Photos of Palladio's surviving buildings)
* Reed, Henry Hope, and Joseph C. Farber (1980). ''Palladio's Architecture and Its Influence''. New York: Dover Publications.
* Ruhl, Carsten (2011).  ''Palladianism: From the Italian Villa to International Architecture'', European History Online. Mainz: Institute of European History. Retrieved: May 23, 2011.
* Summerson, John, ''The Classical Language of Architecture'', 1980 edition, Thames and Hudson ''World of Art'' series,
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* Watkin, David (1979). ''English Architecture''. London: Thames and Hudson.
* Wittkower, Rudolf. ''Architectural Principles in the Age of Humanism''.
*  Chiswick House
*  Holkham Hall