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 496 COMPARATIVE ARCHITECTURE. Tursi) (a.d. 1564) (No, 217) and the Palazzi Duvazzo, Baibi, and Camhiassi are the best known. 5. Maria di Carignaiio (a.d. 1552), also by Alessi, was designed on the lines of Raphael's plan of S. Peter, Rome. Note. — Characteristic ornament is shown in No. 218. REFERENCE BOOKS. Callet (F.) at Lesueur(J.B. C.).—" Architecture italienne : edifices publics et particuliers de Turin et Milan." Folio. Paris, 1855. Durelli(G. and F.).— " La Certosa di Pavia." Folio. 1853. Gauthier(M. P.). — " Les plus beaux edifices de la villa de Genes." Folio. Paris, 1818. Paravicini (T. V.). — " Die Renaissance Architektur dar Lombardei." Dresden, 1878. Rubens (P. P.). — " Palazzi antichi et moderni di Geneva." 1663. THE ROCOCO STYLE. The Rococo, or Baroco, style is a debased application to architecture of Renaissance features, which was followed in the seventeenth century. Such work is to be distinguished from the mixtures of certain forms of the early Renaissance, when the style was commencing, because the Rococo period, coming after the reign of a highly systematized classical style, represents an anarchical reaction. Sinuous frontages, broken curves in plan and elevation, and a strained originality in detail, are the characteristics of the period. Columns were placed in front of pilasters, and cornices made to break round them, and broken and curved pedi- ments, huge scrolls, and twisted columns are also features of the style. In the interiors, the ornamentation was carried out to an extraordinary degree, without regard to fitness or suitability, and consisted of exaggerated and badly-designed detail, often over- emphasized by gilding and sculptured figures in contorted attitudes. This style, commencing at the time when the movement in religion connected with the Jesuits was in progress, was adopted by them for its essentially modern character, and the features described are specially to be seen in the Jesuit churches through- out Italy and the rest of Europe, its almost universal extension being a monument to their activity. The application of classical ideas to modern forms, beneath the trappings of bad detail, can be traced in the later period of the Renaissance movement. Carlo Maderna (1556- 1639), Bernini (1589-1680), and Borromini (1599-1667), were among the more famous who practised this debased form of art, and among the most prominent examples are the Roman churches of S. Maria dcUa Vittoria by Maderna, 5. Agnese by Borromini, and many churches at Naples and elsewhere.