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.

The Norman invaders have added their never-failing gold mosaic,while the Spaniard, after painting sundry scenes from Ovid's "Metamorphoses" in a dreadfully barocco style, calls upon the world, in those magniloquent phrases which somehow belong as of right to your mighty Don, to admire the exquisite commingling of modern art with antique beauty, to which his fiat has given birth.

Indeed, Michelangelo's new system of decoration bordered dangerously upon the barocco style, and contained within itself the germs of a vicious mannerism.

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.

We need not wonder if a man of his calibre left the powerful impress of his personality upon an art in chaos, luring lesser craftsmen into the Barocco mannerism, while he provoked reaction in the stronger, who felt more scientifically what was needed to secure firm standing-ground.

" If I am right in thus interpreting an unusually incoherent passage of Vasari's criticism, no words could express more clearly the advent of Barocco mannerism.

That freedom and new vigour we now know to have implied the Barocco style.

In other words, the Barocco manner had begun; the path was opened to prank, caprice, and license.

Then, again, in the first half of the sixteenth century it anticipated the rhetoric of the barocco periodthe eloquence of seventeenth-century divines, Dutch poets, Jesuit pulpiteers.

By producing one limb of the cross into a nave, destroying the colonnade and portico, and erecting a huge façade of barocco design, his followers threw the interior effect of the cupola into a subordinate position, and externally crushed it out of view, except at a great distance.

The grotesque barocco style of the Porta Pia, strong in its total outline, but whimsical and weak in decorative detail, may probably be ascribed to the same cause.

The third, again comprising about forty years, from 1540 to 1580, leads onward to the reign of mannerism and exaggeration, called by the Italians barocco.

The false windows, repeated pillars, and barefaced aiming at effect, that mark the insincerity of the barocco style, are found here almost for the first time.

Neo-Latin literature dwindled away to nothing, and Palladio was followed by the violent reactionaries of the barocco mannerism.

But the real attraction of Correggio was only felt when the new barocco architecture called for a new kind of decoration.