The first surviving permanent theatre structure since antiquity, the Teatro Olimpico is a wonderful combination of a classical theatre (in imitation of the ancient theatre as conceived by Renaissance scholars), and contemporary perspective scenery. The Olimpico auditorium and stage front are highly reminiscent of ancient Roman theatre, but actually they differ greatly in shape and size. This is partly because Palladio had to adapt his design to the rectangular shape of the building allocated to him. He probably would have built a semi-circular theatre in the Vitruvian manner if the shape of the property had allowed it.

Apart from these restrictions, the Olimpico still cannot be considered a copy of a Roman theatre. Although some of its features are strikingly Roman, there are also many differences that can be attributed to other factors (think for example of Scamozzi’s scenery or the roofing). The Teatro Olimpico gained its particular shape because of the combination of its academic origins (the Olympic Academy charged Palladio with the design for a theatre fit to stage classical plays), and the specific style and vocabulary of the architect, developed over a long career. After all, the Olimpico was Palladio’s final design and he died before the building was completed.

Who was Palladio

Excerpt from: Palladio's First Book of Architecture - Chapter One

The origin of the Teatro Olimpico is closely tied to the humanistic tradition of the Renaissance academies. The conception of a theatre modelled on those of the ancient Romans follows from the particular purposes and goals of the Vicentine Olympic Academy. The Olimpico was more than just a theatre. It had to perform an important cultural function as a centre of academic activity, and as a physical realization of academic identity.

The founders of the theatre

Renaissance culture was defined philosophically by humanism. This was an excellent condition for the rise of the academic movement. In general, Academy members devoted themselves to the study of ancient scholars and the development of classicism in all possible domains of society, but most notably the areas of culture and science.

Many of the academies existed for only a short time, mainly due to the exclusivity of membership, and problems with the central authorities – the academy as an institution expressed a latent sense of democracy and liberalism contrary to the principle of feudal government.

Vicenza distinguished itself from other Renaissance cities by the absence of a dominant ruling family. The nearby Republic of Venice had ruled Vicenza since 1404, and there was no central authority present in the city itself. This created a sense of freedom and several academies were founded although most of them disappeared soon because they were too exclusive. The Olympic Academy, however, managed to survive.

This academy was initiated in 1555, and Palladio was one of its founding members. One of its distinctive features was a liberal attitude towards non-aristocrats like Palladio. The Olympic Academy allowed men of different classes to become members. The initial democratic attitude attracted several artists, and this would enhance the Academy’s cultural ideals. Later on, the Academy restricted its liberal policy but by then its viability was already assured.

The goals of the Academicians were clearly defined by the humanistic ideals of Renaissance culture. These ideals revolved around the development of man. It was the idea of a homo universalis, an all-round educated and civilised scholar who reached knowledge by (self) education and cultivation of cultural interests.

To achieve this degree of learning the Academicians engaged themselves to the study of science, art and literature. The Academy’s device was Hoc Opus, Hic Labor Est. These words are inscribed on the Teatro Olimpico frons scaenae as well as the Ante Odeon wall, and point out the importance of (scholarly) labour. This is the task, here is the labour, it reads, or: without effort, no goal will be achieved. The motto is borrowed from a phrase in the Aeneid that describes Hercules’ assignment after descending into hell. The verse reads as follows:

‘To retrace one’s steps, emerge into the open air again
This is the task, here is the labour …’

One of the Academy’s most important pursuits was the study of the ancients. Classicism penetrated every area of study: science (mathematics, geometry, arithmetic and music), and literature, especially the ancient playwrights. By organizing cultural events in Vicenza, the Academy hoped to promote the city as a cultural capital and to stimulate progress in general. Over the years they developed a growing interest in classical literature. This concerned not only the reading, but also the reciting of particular works in front of an audience.

The desire to produce classical plays increased and in 1558 Palladio was asked to erect a temporary stage for a recital in honour of the admired Hercules. Later on, Palladio built temporary structures for the staging of L’Amor Costante and Sofonisba. The success of the latter performance inspired the Academy to build a permanent theatre to stage classical plays. The Academy gained permission from the city council to acquire some property near the Old Prison in 1588. Palladio was assigned the task to design and build a theatre.

The main function of this new theatre was to honour antique culture, to emphasize the important role of the Academy (as they saw it) in the city, and also to glorify the status and knowledge of the academic body itself. This function is exemplified by the decision to furnish the frons scaenae and the colonnade of the theatre with statues of the Academy members in ancient Roman dress. In this respect, the appearance and decoration of the theatre served as a consolidation of the power of the Academy.