This also forms a connecting point between the works, where buildings are used not only to house those who praise God, but also as functioning works of praise themselves. In short, Sinan uses prose and poetry first to praise God, and then progressing to his royal representatives on earth. Palladio, in turn, uses poetic prose to praise God, after which he progresses to a more practical focus on the history of temples as well as the dimensions of his proposed buildings.

Both architects are obviously deeply religious men who use their art and works in praise of the divinity that they regarded as their creator. Their writing clearly shows the respective cultural affiliations that both hold; with Palladio investigating the history of his country and its buildings to learn from and build upon. Sinan, on the other hand, regards both humanity and divinity as part and representative of each other. Like their architecture, both...

Sinan's Autobiographies: Five Sixteenth-Century Texts. Leiden: 2006.
Glancey, J. The stonecutter who shook the world. The Guardian, Jan 5, 2009. Web. http://www.guardian.co.uk/artanddesign/2009/jan/05/architect-andrea-palladio

Palladio, Andrea. Four Books on Architecture. Translated by Robert Tavernor and Richard Schofield. Cambridge: 1997

Respect to Sinan Project. 2006. Web. http://www.sinanasaygi.org/en/icerik.asp?ID=3

Royal Academy of Arts. Adrea Palladio: His Life and Legacy. 2009. Web. http://static.royalacademy.org.uk/files/palladio-education-guide-418.pdf

Turkish Cultural Foundation. Koca Mimar Sinan. 2012. Web. http://www.turkishculture.org/architecture-403.htm