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At the Villa Almerico Capra, known as La Rotonda, built by Palladio in 1550-67, Louis Dorigny in the early 1690s redefined the Palladian space of the central hall, dematerializing the wall surfaces with a faux colonnade from which gigantic, rounded figures of Olympian gods emerge with overwhelming, Berniniesque exuberance. In the Veneto, this artist of French origin championed the Baroque concept of "beautiful synthesis," which was meant to unite architecture, painting, and sculpture in a harmonious whole.
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