This paper will now examine various spatial conceptions that existed and proliferated during the Renaissance and Baroque periods. The examination will include a discussion of the form of painting known as quadratura, as well as the various contemporary and ancient beliefs driving the design of theatrical space. The discussion will then investigate the ways in which the professional work of patron Daniele Barbaro influenced and sculpted the entire project. It will be revealed how his driving concept began to experiment with a unique reconciliation of contemporary and ancient constructions of theatrical space.
Following, an analysis of the structure’s architecture will explore the existing tradition of integrating the villa and the theatrical form. An examination of the entire architectural construction will reveal intentionally designed performative moments, and specific attention will be paid to the nymphaeum and its alignment with the tradition of the teatro dell’acqua. Finally, a study of Veronese’s frescoes will reveal a conflation of spatial and temporal layering that generates a single unified realm of possibility. This unification is essential to the specific form of theatricality perpetuated by the villa
