The whole is Pagan in its pride and sensuality, its prodigality of strength and insolence of freedom.

Having seen this palace, we do not wonder that the fame of Giulio flew across the Alps and lived upon the lips of Shakspere: for in his master-work at Mantua he collected, as it were, and epitomised in one building all that enthralled the fancy of the Northern nations when they thought of Italy.
A pendant to the Palazzo del Te is the Villa Farnesina, raised on the banks of the Tiber by Baldassare Peruzzi for his fellow townsman Agostino Chigi of Siena.

It is an idyll placed beside a lyric ode, gentler and quieter in style, yet full of grace, breathing the large and liberal spirit of enjoyment that characterised the age of Leo.

The frescoes of Galatea and Psyche, executed by Raphael and his pupils, have made this villa famous in the annals of Italian painting.

The memory of the Roman banker's splendid style of living marks it out as no less noteworthy in the history of Renaissance manners.[44] Among the great edifices of this second period we may reckon Jacopo Sansovino's buildings at Venice, though they approximate rather to the style of the earlier Renaissance in all that concerns exuberance of decorative detail.