The term Theatrum Mundi – the world is a stage – was also created. The social and political realm in the real world is manipulated in exactly the same way the actor and the machines are presenting/limiting what is being presented on stage, hiding selectively all the machinery that makes the actions happen.
Baroque actually expressed new values, which often are summarized in the use of metaphor and allegory, widely found in Baroque literature, and in the research for the "maraviglia" (wonder, astonishment — as in Marinism), the use of artifices. The psychological pain of Man — a theme disbanded after the Copernican and the Lutheran revolutions in search of solid anchors, a proof of an "ultimate human power" — was to be found in both the art and architecture of the Baroque period. Virtuosity was researched by artists (and the virtuosobecame a common figure in any art) together with realism and care for details (some talk of a typical "intricacy").
In English literature, the metaphysical poets represent a closely related movement; their poetry likewise sought unusual metaphors, which they then examined in often extensive detail. Their verse also manifests a taste for paradox, and deliberately inventive and unusual turns of phrase.
The term "Baroque" was initially used with a derogatory meaning, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, which sharply contrasted the clear and sober rationality of the Renaissance. It was first rehabilitated by the Swiss-born art historian, Heinrich Wölfflin (1864–1945) in his Renaissance und Barock(1888); Wölfflin identified the Baroque as "movement imported into mass," an art antithetic to Renaissance art