the baroque period in Italian art. Domenichino, Francesco Albani, and later Andrea Sacchi were among those who carried out the classical implications in the art of the Carracci. On the other hand, Guido Reni, Guercino, Orazio Gentileschi, Giovanni Lanfranco, and later Pietro da Cortona and Andrea Pozzo, while thoroughly trained in a classical-allegorical mode, were at first inclined to paint dynamic compositions full of gesticulating figures in a manner closer to that of Caravaggio. The towering virtuoso of baroque exuberance and grandeur in sculpture and architecture was Gian Lorenzo Bernini. Toward 1640 many of the painters leaned toward the classical style that had been brought to the fore in Rome by the French expatriate Nicolas Poussin. The sculptors Alessandro Algardi and François Duquesnoy also tended toward the classical. Notable late baroque artists include the Genoese Giovanni Battista Gaulli and the Neapolitans Luca Giordano and Francesco Solimena. The leading lights of the 18th century came from Venice. Among them were the brilliant exponent of the rococo style, Giovanni Battista Tiepolo; the architectural painters Francesco Guardi, Canaletto, Giovanni Battista Piazzetta, and Bernardo Bellotto; and the engraver of Roman antiquities, Giovanni Battista Piranesi. Italian Neoclassical and 19th-century art As in other parts of Europe, Italian Neoclassical art was mainly based on the principles of Ancient Roman and Ancient Greek art and architecture, but also by the Italian Renaissance architecture and its basics, such as in the Villa Capra "La Rotonda". Classicism and Neoclassicism in Italian art and architecture developed during the Italian Renaissance, notably in the writings and designs of Leon Battista Alberti and the work of Filippo Brunelleschi. It places emphasis on symmetry, proportion, geometry and the regularity of parts as they are demonstrated in the architecture of Classical antiquity and in particular, the architecture of Ancient Rome, of which many examples remained. Orderly arrangements of columns, pilasters and lintels, as well as the use of semicircular arches, hemispherical domes, niches and aedicules replaced the more complex proportional systems and irregular profiles of medieval buildings. This style quickly spread to other Italian cities and later to the rest of continental Europe. The sculptor Antonio Canova was a leading exponent of the neoclassic style. Internationally famous, he was regarded as the most brilliant sculptor in Europe. Francesco Hayez is the greatest exponent of Romanticism in Italy: many of his works, usually of Medieval setting, contain an encrypted patriotic Risorgimento message. The Macchiaioli Italy