The next in rank, Bartolommeo Ammanati of Florence, may be called the court architect of Duke Cosimo I. He built two bridges across the Arno, the Ponte alia Carraia and the Ponte Santa Trinita, finished the main body of the Pitti Palace, originally designed by Brunelleschi, and completed the elaborate Boboli garden, the pleasure grounds behind the palace. He also was drawn to Rome at the behest of villa-building Popes, and had a share in elaborating the plans of the Villa of Papa Giulio. Giorgio Vasari, architect, painter, biographer, designed the Uffizi at Florence, painted many indifferent pictures, and wrote "Lives of the Painters," a garrulous, discursive, inaccurate, and delightful book. Galeazzo Alessi of Perugia built the stately, tourist-haunted palaces of Genoa, once occupied by opulent merchants, and also the gigantic church of S. Maria degli Angeli, which covers the Portiuncula of St. Francis, like a bowl turned over a forget-me-not. Jacopo Tatti Sansovino of Florence was the architect of many noble buildings in Venice. Andrea Palladio of Vicenza embodied his passionate love of classical architecture in palaces and churches in his native town and in Venice. During the revival of classic enthusiasm in the eighteenth century Palladio became a demi-god. The captivated Goethe, as soon as he arrived at Vicenza, hurried to see the Palladian palaces. "When we stand face to face with these buildings, then we first realize their great excellence; their bulk and massiveness fill the eye, while the lovely harmony of their proportions, admirable in the advance and retreat of perspective, brings peace to the spirit." In Venice, he says, "Before all things I hastened to the Carita.... Alas! scarcely a tenth part of the edifice is finished. However, even this part is worthy of that heavenly genius.... One ought to pass whole years in the contemplation of such a work." These men and their rivals kept alive the traditions of the great period; nevertheless, in course of time stiltedness and exaggeration usurped the place of elegance and force. A servile imitation of Roman models, an absolute acceptance of classical correctness, prevailed; the classic orders, especially the Corinthian, spread themselves everywhere; in one place barren and formal simplicity obtruded itself, in another pretentious magnificence. After 1580 the transition is complete; the baroque triumphs; sham tyrannizes, wood and plaster mimic stone, columns twist themselves awry; monstrous scrolls, heavy mouldings, crazy statues, gilt deformities, and all the contortions to which stucco and other cohesive substances will submit, hang and cling everywhere, inside and out. But this is to anticipate, for the full revel of the Baroque takes place in the seventeenth century.