And, if one can divorce the subject matter of Bronzino’s Allegory from its structure, there is surely some equivalent argument to be made. The low relief of Vignola’s facade may be correspondent to Bronzino’s shallow pictorial space, and it may also be observed how with Bronzino, the elements of his composition are elegantly threaded together in much the same way as at Caprarola (Figure 11b) the elements of classical architecture are laced together as a component of surface webbing, in both cases to sponsor a system of profuse and interlocking patterns.

The condition of the grid with Bronzino and Vignola, a condition where painting and architecture meet, is sufficient for me to illustrate the nature of my exploration. In summary, not only do I find the Caprarola facades to be pieces of his intrinsic interest, but I also attribute to them a powerful ‘modernity’ or contemporary relevance. It is such phenomena as the Caprarola facades and their pictorial equivalents which I will continue to investigate—from the point of view of architect and painter.5