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...... The mannerism is the result of the application of the fixated rules of the Renaissance, but taken to the extreme. Renaissance was exhausting itself into the very strict rules of the stereotypes. In closed circles, like private courts of some nobles and princes, there was a new interest for a much exaggerated art, only accepted by those educated enough in the subject and open to such kind of violation of the pictorial rules. This was an unnatural art. The characters in those works suffer terrible distortions or appear in twisted postures impossible in real life. The colors are not natural, but they are cold and artificial, violently contrasting with each other instead of combining. Even academic scholars like Michael Angelo or Raphael experimented in their last years with the distortion or unfinished appearance of their work. Tizian, Correggio and Giorgione employed sophisticated symbolism in their work
The difference between the artistic visions evolving in Rome or Florence than the one resulting in Venice comes from the different perception and preoccupation of those societies. Rome was trying to get back in touch with the antique classical art, taking as model the Roman art, in an attempt to reconstruct the Roman

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