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Updated: June 5, 2025
Two exits from the false situation existed: one was the picturesqueness of the Barocco style; the other was the specious vapid purity of the Palladian. Michelangelo, who was essentially the genius of this transition, can neither be ascribed to the Barocco architects, although he called them into being, nor yet can he be said to have arrived at the Palladian solution.
In other words, the Barocco manner had begun; the path was opened to prank, caprice, and license. It required the finer tact and taste of a Palladio to rectify the false line here initiated, and to bring the world back to a sense of seriousness in its effort to deal constructively and rationally with the pseudo-classic mannerism.
He was a muscular man with a high colour and silvery locks curling round his bald pate and over his ears, like a barocco apostle. I had an idea that he had had a lurid past and had seen some fighting in his youth.
A farewell to these memories of Urbino's dukedom should be taken in the crypt of the cathedral, where Francesco Maria II., the last Duke, buried his only son and all his temporal hopes. The place is scarcely solemn. Its dreary barocco emblems mar the dignity of death. A bulky Piet
Before this façade, on the marble pavement, prance the bronze equestrian statues of two Farnesi insignificant men, exaggerated horses, flying drapery as barocco as it is possible to be in style, but so splendidly toned with verdigris, so superb in their bravura attitude, and so happily placed in the line of two streets lending far vistas from the square into the town beyond, that it is difficult to criticise them seriously.
He had a grey beard, a big nose, thick lips, and heavy shoulders. His curly white hair and the general character of his head recalled vaguely a burly apostle in the barocco style of Italian art.
Indeed, Michelangelo's new system of decoration bordered dangerously upon the barocco style, and contained within itself the germs of a vicious mannerism. It would be captious and unjust to push this criticism home.
The church of Douai, erected in 1583, was a replica of the Gésù in Rome, and the general adoption of the Italian "barocco" by the Jesuits has encouraged the idea, in modern times, that there really existed a Jesuit type of architecture.
What emerges with distinctness from Vasari's account of Michelangelo's work at S. Lorenzo is that a practical Italian architect, who had been engaged on buildings of importance since this work was carried out, believed it to have infused freedom and new vigour into architecture. That freedom and new vigour we now know to have implied the Barocco style.
Then she had wished to see the lovely villa that came back in the pictures of her dreams, and she had been driven out into the country according to her desire. From a distance, as the carriage approached it, she recognized the lordly poplars, and far at the end of the avenue the elaborately stuccoed front and cornices of the old-fashioned "barocco" building. But the gardens were gone.
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