But if we consider this manifestation in the context of architectural movements, its exceptionality stands out all the more. The departure from the direction represented by Galilei, by Fuga, by Salvi, by Vanvitelli is, after all we have seen, evident. The Piranesi of the "Candelabri" and the "Camini" is found again, it is true, in the project for S. Maria del Priorato, but it is a different force expressed in the creation of the Campomarzio. If its base lies in the Roman character, the organic liberties which we have seen in the organisms of the "Campomarzio" bring us back, we dare say, to baroque attitudes, Borrominian in some its aspects, considering the relish for intersecting planes and volumes.
Quondam © 2020.09.07