Bernini and the superb fountain of Trevi derive from Michelangelo on one side; Vignola's cold classic profiles and Palladio's resuscitation of old Rome in the Palazzo della Ragione at Vicenza emerge upon the other.

It remained Buonarroti's greatest-glory that, lessoned by experience and inspired for high creation by the vastness of the undertaking, he imagined a world's wonder in the cupola of S.Peter's.
III Writing in the mid-stream of this architectural regurgitation, Vasari explains what contemporaries thought about Michelangelo's innovations.
"He wished to build the new sacristy upon the same lines as the older one by Brunelleschi, but at the same time to clothe the edifice with a different style of decoration.

Accordingly, he invented for the interior a composite adornment, of the newest and most varied manner which antique and modern masters joined together could have used.

The novelty of his style consisted in those lovely cornices, capitals, basements, doors, niches, and sepulchres which transcended all that earlier builders, working by measurements, distribution of parts, and rule, had previously effected, following Vitruvius and the ancient relics.

Such men were afraid to supplement tradition with original invention.