The recent lecture by Peter Eisenman in Liverpool affirmed the current interests of one group of CiA students in the work of Andrea Palladio. Eisenman declared his faith in the value of drawing as a demonstration of thought, in contrast to the thoughtless production of computer generated ‘architecture’. He furthermore asserted that he taught the work of Palladio (along with that of Vignola and Carlo Maderno) as an example of the unity of form and meaning, a relationship which is an increasingly rare commodity. This unexpected endorsement of the playful nature of Palladio’s rules, that discipline of beauty which Lutyens characterised as his ‘high game’, will only amplify interest in an extraordinary body of work which has continued to delight and divert architects for 500 years since Palladio’s birth on 30 November 1508. Here’s to the next 500.