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 Volpi of Florence, at the Holel Plaza, New York City, November 27, 1916, sold to 
 Warwick House (Messrs. Soldwedel and Hofer), for Jackson Johnson, St. Louis, Mo. 
 
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 * PERUZZI * 
 
 ARCHITECT 
 PAINTER 
 ENGINEER 
 
 Portrait Drawn by Peruzzi of Himself 
 In His Sketch Book in the Public Library of Siena 
 
“He may truly be said never to have had 
 an equal in Architecture’ —Vasari. 
 
 “Architetto Universale’”—Lomazzo. 
 <’This most excellent master’”—MMzlanesi. 
 
 “Hino ad essere anteposto a Bramante”’ 
 —[anzt. 
 
 “Le plus elegant, le plus fin, le plus 1n- 
 dependant des architectes qui chercherent 
 fortune a Rome”—Eugene Muntz. 
 
 “Forse il piu perfetto architetto del Rin- 
 ascimento’— Domenico Gnolt. 
 
 “The greatest architect of the Renais- 
 sance —Sir Reginald Blomfeld. 
 
 BZ 
 
 THE J. PAUL GETTY CENTER 
 LIBRARY 
 
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 Vie eA TELE R 
 HENRY MELLEN KENT 
 
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Table of Contents 
 
 CHAPTER 
 I. Siena, 1480-81—1503 
 II. Rome, 1503-11 . 
 III. Rome, 1511-14. 
 IV. Rome—Carpi—Todi, 1514-22 
 V. Bologna, 1522 
 VI. Siena, 1507-23—Viterbo—Ferento 
 VII. Rome—Ferrara, 1523-27—Siena, 1527-30 
 VIII. Rome, 1530-1—Siena, 1531-2—Rome, 1532-6 
 IX. Review of Peruzzi’s Qualities and Methods-—Neglect of His 
 
 Tomb—Signor Gnoli’s Suggestion—Increase of His Fame 
 The Peruzzi Genealogy 
 Bibliography ae Vote a 
 List of Works Attributed to Peruzzi 
 
PREFACE 
 
 Some thirty years ago the writer first saw Baldassare Peruzzi’s Pollini 
 Palace, the Carmine tower and other works of beautiful and individual char- 
 acter at Siena. Admiration of their architectonic and scholarly qualities was 
 strengthened later by study of the Massimi, Farnesina and other palaces built 
 by him in Rome and elsewhere, for all are of interest, many of great merit 
 and some are masterpieces. 
 
 Keen critics have praised Peruzzi’s designs in architecture, painting and 
 engineering, great artists have studied them with profit. Lanzi says of him, 
 “Living in the brightest period of modern art he is one of the most interest- 
 ing personages in its history,” yet a fully illustrated account of his life and 
 works has never been published. It would be hard to plan more absorbing 
 and instructive work than the collecting of all possible data about him 
 through travel and research. ‘This has opened for the writer many new 
 paths to study of the Renaissance. It seemed, moreover, as if this long-stand- 
 ing neglect of a great artist might be remedied and possible assistance given 
 to future designers, travelers and students who could not personally view all 
 his buildings and sketches, and so, during several visits to Italy, search for 
 all matters pertaining to him began. Many unrecorded traces of his work and 
 influence gradually presented themselves; buildings heretofore unpublished, 
 in and around Siena and elsewhere; sketches in the Uffizi hardly known to 
 modern writers; drawings and photographs in America and Europe and a 
 likeness or two never yet reproduced, besides buildings which as at Carpi and 
 Bologna seemed to show his hand. 
 
 His chief works are described, as far as possible, chronologically, but it is 
 dificult to make more than careful guesses at the date of certain of his build- 
 ings and frescoes. 
 
 The author wishes to acknowledge the kind help which he received from 
 Mr. Edward R. Smith, Avery Library, New York; Prof. Stevens, head of the 
 American Academy in Rome; Prof. Achille Bertini Calosso, of the Borghese 
 Gallery, Rome; Prof. Vittorio Mariani, architect, of Siena, who knows some 
 of the present owners of Peruzzi’s buildings; Signor Mieli of Siena; Prof. 
 Edoardo Collamarini, head of the Bologna School of Architecture; Cav. Um- 
 berto Olivieri, Rome; Mr. H. Nelson Gay, Rome; Mr. F. H. Bacon and 
 Mr. W. H. Kilham, Boston, Mass.; Mr. Claude Bragdon; Mr. Lawrence 
 Grant White of New York, in the loan of Peruzzi’s own drawings; Mr. 
 Jackson Johnson, St. Louis; and Warwick House, New York City. ‘The 
 excellent photographs of Messrs. Moscioni of Rome; “Poppi”, i.e. Zagnoli, of 
 Bologna; Lombardi of Siena; Braun of Paris; Alinari & Cook, Anderson 
 Brogi, Danesi and others of Rome, have been of great help for study, the use 
 of many for illustration has been freely given and due thanks and credit are 
 returned herewith. 
 
 Lawrence Park, Bronxville, N. Y., 1925. 
 
THE LIFE AND WORKS 
 
 OF 
 
 BALDASSARE PERUZZI 
 
 CHAPLIER «1 
 SIENA—1 480-8 1— 1503 
 
 On the 7th of March, 1480 (1481, common style),! during the pon- 
 tificate of Sixtus IV., there was baptized in the City of Siena, Tuscany, 
 Baldassare Peruzzi, destined to play an important part in the development of 
 the Renaissance. 
 
 ‘There has been in the past much argument as to the place of his birth 
 and altho’ Volterra, Florence, Siena, and Ancaiano have claimed him, Gaetano 
 Milanesi, a compatriot discovered that the baptismal registry at Siena shows 
 that he was baptized there. 
 
 In confirmation of this there has reached the writer, through the kindness 
 of Professor Mariani of Siena, a transcript of the record in the Archives of 
 Siena, reading as follows: (Translation) “Year 1480—folio 458. Baldassare 
 ‘Thommaso son of Giovanni di Salvestro da Volterra was baptized on the 
 seventh of March; Jacomo da Piemonti was godfather.” Which conforms 
 closely to Milanesi’s transcript.? 
 
 The village of Ancaiano, a small settlement on a hillside near Cetinale 
 about seven miles from Siena, is often mentioned by early writers as Peruzzi’s 
 actual birthplace. Among these Guglielmo della Valle in his “Sienese Let- 
 ters’ (Rome 1786) states that Giulio Mancini in his treatise on painting, 
 speaking of the country of this artist gives the following information: “I 
 think, in brief, that certain things which he (Vasari) says of Baldassare 
 Peruzzi, whom he tries to prove a native of Volterra of Florentine origin, 
 and some other things, do not correspond to the truth, because he was in fact 
 born at Accaiano, villa of the court of the Castello di Sovicello, a diocese of 
 Volterra perhaps, but of the state of Siena, and distant from that city, six 
 or eight miles, a relative of Meccarino* as I heard long ago from Maestro 
 Alessandro della Rocca, then an old man of eighty years, but of excellent 
 
 1 Stegmann and Von Geymiller say ‘15th of January, 1480.” ‘Die Architektur der Renais- 
 sance in ‘Toscana.’ 
 
 2 Milanesi’s edition of Vasari’s “Lives.” 
 
 In MS “Ragguaglio delle cose di Siena.” 
 
 4 Domenico Beccafumi, called Micarino, Meccherino or Meccarino, eminent as a painter and 
 sculptor, was born 1484-6, at or near Siena. He took his name from a man who noticed his early 
 talent who may have been the one to whom Mancini here refers. Vasari says that Peruzzi and 
 Beccafumi were intimate. 
 
2 LOTTE EO ANG DAG HR Rese 
 
 memory and a friend of one and another goldsmith, so that one must not 
 doubt that he was Sienese.”’ . 
 
 It seems as if there must have been some basis for such a tradition as 
 this. Could it have been that Peruzzi actually saw the light in Ancaiano 
 and was carried to Siena proper for baptism for lack of a local church in the 
 little nearby settlement? It is not impossible. Mancini was physician to 
 Pope Urban VIII. and a man of education and standing, who probably trans- 
 mitted the story exactly as he heard it. ‘The persistence of this tradition is 
 also shown by the following letter received from a descendant of Peruzzi, 
 
 “Ancaiano (Sovicille) July 8-1915 
 Most Worthy Sir: 
 
 Baldassare Peruzzi was born at Ancaiano and there still remains an 
 old tower where tradition says he lived. ‘The existing family is descended 
 from the architect Peruzzi—of them I am now the only one here, the others 
 have gone away. 
 
 The local church is not the work of Peruzzi, but of Fontana who de- 
 signed also, in 1667, the villa of Cetinale, belonging to the Chigi family. 
 
 The villa of Vico Bello (near Siena) always of the house of Chigi, 
 was built from the designs of Peruzzi. If other better information should 
 be needed be assured that I would be able to make it my business to secure it. 
 
 Greetings from thy friend, 
 Cesare Peruzzi 
 Tobacconist.” 
 
 Unless, however, later documents are found to establish other facts, 
 Siena proper must be accepted as the baptismal and as probably the birth 
 place. 
 
 Although Baldassare Peruzzi’s full name was Baldassare ‘Thomasso di 
 Giovanni di Salvestro di Salvadore Peruzzi, he was referred to and signed 
 himself often, merely as ‘‘Baldassare da Siena,” Bal. Sen., or even B. B. 
 according to one authority. “lhe name was also spelled Perucci, Perucio, 
 Petrucci and in the Latin form Perugo, or Baldasse Perutio de Siena, as in 
 a letter of his of 1528, or abbreviated, Putio. His contemporaries often 
 alluded to him merely as “Baldassare.” 
 
 His father was Giovanni di Salvestro di Salvadore Peruzzi, a weaver 
 of Volterra. Vasari tells of a sister Virginia of nearly Baldassare’s age, but 
 we know nothing more about her—and Milanesi records the birth of a sister 
 Desiderio Maria in February 15, 1475, while a brother Pietro is mentioned — 
 in a lease, of 1511, now in Rome and apparently not known to Milanesi. 
 
 His father fled, Vasari states, from Volterra to Siena (in 1475 Milanesi 
 believes), or perhaps only to just outside Siena, to Ancaiano—which in a 
 way was territory of Volterra—in times of civil upheaval and possibly made 
 acquaintances there. “Phis might naturally have led to the son going back 
 in after years to Volterra proper, and decorating “in the Florentine style” 
 a chapel, now destroyed, near the Florentine gate. Before he was twenty 
 
Peele SSA Re Si eR GZ Al 3 
 
 he studied architecture there, Matas says, with Francesco di Giorgio. “The 
 latter, a talented Sienese architect, wrote a treatise on architecture now pre- 
 served in manuscript in the Siena Public Library which also treasures one of 
 Peruzzi’s sketch books. ‘The doorway of Fontegiusta, Siena, is by Di 
 Giorgio (Pl. 3). 
 
 Peruzzi’s designs show details like Di Giorgio’s and he certainly made 
 the acquaintance of Pietro di Andrea da Volterra, whom he accompanied to 
 Rome in 1503, after showing his ability as a painter and being induced to go 
 by the invitation of Agostino Chigi, the Sienese-Roman banker. 
 
 The shepherd Giotto early saw greater beauty in nature than in beau- 
 tiful Byzantine mosaics, rural Domremy nurtured and quickened Joan of 
 Arc, yet more surprising is it that from an obscure Volterra-Siena family, 
 whose history is now almost unknown, there came this weaver’s son whose 
 capacity for hard, discouraging work and inherent sense of the values of 
 line, mass, proportion, and color, placed him quickly among the great men 
 at Rome. 
 
 Mr. William J. Stillman, in an article in the Century on “The Coinage 
 of the Greeks,” states his belief that the Tyrrhenian Pelasgi, coming anciently 
 into Greece (Thucydides IV., 109) carried the arts thither and that “the 
 true artistic nature, as opposed to imitation or monumental, was the original 
 appanage of the Pelasgic race developed in the great italian empire built up 
 by it.” He also says that to a survival in this Pelasgic stock was due the 
 revival of art in Tuseany the ancient home of the lyrrhenian Pelasgi. 
 
 That is logical, and it is quite possible that many ‘Tuscans, including 
 Peruzzi, inherited their noted keen sense of beauty from Pelasgic ancestry. 
 This would partly explain why he so pre-eminently appreciated and suggested 
 in his designs a quality akin to the Greek. 
 
 Renaissance restrospection and study included not alone classic but even 
 earlier phases of art and therefore it is possible that in Peruzzi it revived the 
 ancient sense of beauty. Mr. Stillman defines Pelasgic Greek art as sub- 
 ordinating “‘all other elements to beauty, the expression of an ideal born of 
 a distinct tho’ half blind spiritual aspiration; the fine union of the intellectual 
 and moral yearnings which have always distinguished the Greek art and life 
 from that of Eastern nations.” ‘This is a good definition of Peruzzi’s art 
 as it is of Donatello’s, both peculiarly distinct masters. 
 
 Whatever their source, Peruzzi possessed certain rare and individual 
 powers of design, especially in architecture, that distinguish even his youthful 
 works, and the characteristics of his riper productions are so entirely his own 
 that it is dificult to compare him fairly with other architects of his day. 
 
 All about Siena, there were in his boyhood, as now, within a radius of a 
 few miles, interesting villages, and towns, superb fortresses, churches, bridges 
 and villas. In the towns, and especially in Siena itself, inspiring works were 
 then progressing and he was one inspired by them. 
 
 The Gothic work in Siena was of a notable type and its cathedral, prac- 
 tically finished in 1380, is one of the most original, instructive and beautiful 
 
4 LEE ON DIS HER Kas 
 
 of the greater churches in Italy. Peruzzi’s first recorded architectural and 
 fresco work was done in it, and at intervals during his life he was busy there, 
 on various additions and alterations. 
 
 Pini says that the first who influenced Peruzzi toward art was Ber- 
 nardino Fungai (1460-1516) of the earlier Sienese school, and Berenson in 
 “Central Italian Painters’? names Giacomo Pacchiarotto as his first master, 
 seven years his senior and also a pupil of Fungai’s. 
 
 There are no verified stories of any early privations, except that his 
 father was poor, but, in connection with his family discouraging an over- 
 powering tendency to draw and paint, there is a tale that until he was twenty 
 he pursued by their wish a mechanical occupation, which was painful and 
 distasteful. He seéms certainly to have possessed ability as a young man 
 and became finally a decidedly good draughtsman as we know from his 
 excellent drawings in the Uffizi at Florence, and in Siena, Rome, Milan, 
 Turin, Berlin, Dresden, London, Paris, Vienna and New York. (Pl. 2 
 ct al.) : 
 
 These include all sorts of subjects from sea horses, cows, cherubs, saints, 
 engineering projects, and architectural motives, churches, palaces, villas, etc., 
 up to the beautiful anatomical studies, decorations, and the excellent drawings 
 of his own head done with the firm sure line of a master who knew the 
 proper use of cross-hatching. His handwriting is always so excellent that it 
 forms almost perfect lettering on his plans, bringing to mind ancient manu- 
 scripts, and shows that the writer had considerable instruction or schooling 
 from some source. He wrote a clear and really beautiful hand, in fact far 
 better than that of most of his contemporaries, or later artists, and that he 
 possessed other schooling is shown by the fact that he felt able, according 
 to Papillon, to begin a Commentary on Vitruvius, and a Treatise on Archi- 
 tecture, and prepared drawings, and possibly manuscripts which his most 
 famous pupil Serlio probably inherited, as we know he received part of the 
 drawings and manuscripts. 
 
 Vasari explains Peruzzi’s early proficiency by stating that he frequented 
 the goldsmiths’ shops, especially delighting in their work and that of other 
 designers, and gave all his attention to drawing so that at his father’s death 
 he devoted himself to painting and made rapid progress, copying the best 
 masters and yet (like Da Vinci) “giving his chief attention to nature and 
 living objects’. From the latter practice it is logical to believe he derived 
 much of his strength and versatility. 
 
 At twenty he was a good painter, for in 1501 he designed the interior 
 and painted, with Pintoricchio, the decorations of the chapel of San Giovanni 
 in the Duomo, Malanesi tells us that the actual chapel was begun in 1482, 
 Romagnoli says that the chapel was “built” (probably completed) in 1504 
 from Peruzzi’s designs, and it is recorded that he was paid 42 lire for as 
 many days painting in the chapel, “per altrettanti giorni”, August 15, 1501. 
 This was a good beginning. Pintoricchio, one of the most fertile and splen- 
 did mural decorators of any age, fully appreciated both Raphael and Peruzzi. 
 
PeLOASSARE PERUZZAI 5 
 
 He was born in Perugia in 1454, became a pupil of Perugino, executed famous 
 works in Rome and was called later by Cardinal Francesco Piccolomini, after- 
 ward Pope Pius III., about 1500, to decorate the Sacristy Library of the 
 Duomo at Siena and the chapel of San Giovanni also. Some of his decora- 
 tion here and at Rome following ancient art is modelled in slight relief 
 and he made considerable use of gold and ultramarine blue. His apprecia- 
 tion of and his kindness to Raphael whom he brought with him from Perugia, 
 have made certain writers attribute to Raphael most of the work in the 
 Library, but it is fairly well established that Raphael’s work ended with the 
 cartoons, if indeed he did all of these, inasmuch as he departed for Florence 
 in 1503-4 before the work was finished. Crowe and Cavalcaselle say that 
 none of the actual painting shows Raphael’s handiwork. 
 
 We know that Pintoricchio, Bazzi (Sodoma) and Raphael were in Siena 
 in 1500-1. ‘The latter only seventeen years old, not yet freed from his 
 Perugino mannerisms, and illiterate, Lanzi judges from a letter written in 
 1508, now in the Museo Borgia, Rome. ‘This was addressed to the Duke 
 of Urbino, asking him to use his influence with the Gonfaloniere Soderini, 
 the friend of Amerigo Vespucci, to give him a commission in the Palazzo 
 Pubblico at Florence. 
 
 On the Sacristy Library walls are scenes from the life of Pius II. and 
 the entire decoration is even now one of the most important in Italy, high 
 in key but very harmonious in color, composition and ornament, besides being 
 historically quite valuable. ‘This work gives promise of what some of the 
 artists were later to accomplish at Rome and elsewhere. It seems possible 
 that Peruzzi also helped on the Library decoration, or at least was inspired 
 thereby, especially since it is known that Pintoricchio did not finish the chapel 
 of San Giovanni until 1503-4, or after the Library decorations, although the 
 chapel, where we know Peruzzi worked, was begun in 1501. 
 
 In any event, it is likely that Peruzzi first met Raphael in Siena, and 
 that then began that friendship and intimacy which continued in Rome, as 
 proved by an existing document mentioned later herein. By association and 
 study with men of such calibre, the Sienese artist must have learned much 
 of decorative art and draughtsmanship in general. 
 
 Bazzi settled in Siena in 1501 after forming his style on that of Leonardo 
 da Vinci. He was born in 1477 or 1479 at Vercelli, in the Piedmontese, 
 and studied under Quercia, Giacomo della Fonte. His works in Siena are 
 of wonderful beauty, especially the Scourging of Christ and the St. Catherine 
 Swooning. Both Peruzzi and Beccafumi were influenced by him. Peruzzi 
 said of the St. Catherine that he had “never seen a swoon so naturally repre- 
 sented.” 
 
 Could man choose, it would be difficult for an artist to select a more 
 auspicious place and time for his birth than Italy in the latter half of the 
 XVth and beginning of the XVIth century. Here the mingled blood of 
 Umbrian, Etruscan, Greek, Latin and Teuton sought ever greater expres- 
 sion in strenuous physical and mental activity. 
 
6 LIFE AND. WOR ES 20k 
 
 Also in Europe generally, the energy of repressed thought was then 
 manifesting itself; indeed, the claim is made that from Southern France 
 came an early and notable manifestation of the Renaissance increased by the 
 persecution and dispersion of the cultivated heretical sects. 
 
 But however and wherever the Renaissance actually began it gained its 
 chief force from the sacking of Constantinople in 1453 by the Turks under 
 Mahomet II. and the scattering of its treasures of art and literature over 
 Europe. A year later Gutenberg had successfully used movable type in print- 
 ing and now before the century closed the Renaissance was well advanced 
 toward its highest phase. 
 
 For architects the most clearly marked beginnings had been Bru- 
 nelleschi’s early initiation of Renaissance architecture at Florence in the 
 Pazzi chapel, 1430; in San Lorenzo, 1431 and in the solving of his problem 
 of the dome of the cathedral in 1420-36. Alberti, too in his church for 
 Sigismondo Malatesta at Rimini, 1446-55; in Sant’ Andrea at Mantua and 
 in the excellent Rucellai palace at Florence had proved himself one of the 
 most gifted and original of the earlier architects. 
 
 When Peruzzi was about three years old Sixtus IV. died and Innocent 
 VIII. became Pope; in 1492, when he was eleven, the Spaniards took Granada 
 from the Moors. Later the same year, Innocent VIII. died, Roderigo Borgia 
 ascended the papal chair as Alexander VI., and Columbus landed on San 
 Salvador. 
 
 Into such a world came Peruzzi to feel even in his corner of it at 
 Siena, the inspiration of the age. In architecture he probably recognized the 
 great work of Brunelleschi and of Alberti in proving that the soul of classic 
 art was capable of new life, by reviving from the remains of Rome the spirit 
 of design, for, as Anderson truly says,2 “Brunelleschi’s designs were not 
 mere copying of classic art but original, new forms based upon ancient 
 example.” Certainly Alberti’s were also. In Peruzzi’s boyhood Bramante 
 was measuring, drawing and studying Roman and other remains, as Peruzzi 
 himself was later most enthusiastically and fruitfully to do. It is hardly 
 possible yet to compare properly Bramante’s and Peruzzi’s work, but the 
 great complete life of Bramante, interrupted by the war of 1914, will pos- 
 sibly tell much about him that is now known to but few. 
 
 Peruzzi’s works divide logically into three Periods or Styles, both in 
 architecture and painting. ‘The First Period from 1500 (or earlier) to 
 1508, is often marked by a certain Gothic reminiscence in detail even in 
 mass, and shows the influence of Sienese designs and the instruction of Fran- 
 cesco di Giorgio in architecture, while in painting, the lingering effect of 
 earlier art and of Pintoricchio’s methods is quite clear. “The Second Period 
 from 1508 to 1522 is marked by the great progress which he made under 
 Bramante and from the study of Roman and classic architectural remains 
 generally in Italy, while Sodoma’s and Raphael’s style is in painting gradually 
 
 1A New Light on the Renaissance”, by pa Review London MCMIX. 
 2“The Architecture of the Renaissance in Ita 
 
Deeley dike dete Ro ZZ] 7 
 
 helping him to overcome certain mannerisms of Pintoricchio and the Sienese 
 school. “The Third and last Period extends from 1522, the date of his trip 
 to Bologna, up to his death in 1536. During this last phase his advance in 
 originality is distinct. “The effect too of his previous experience is most em- 
 phatic. 
 
 In continuous succession we see in various cities his marvelous fortifica- 
 tions, palaces and modest private dwellings; in Siena, palaces and villas 
 rivalling the best work of the Renaissance, while in Rome he excels most 
 men in versatility and beauty, eclipsing all designers of domestic achitecture 
 in his superb conceptions. In painting he never excels his Ponzetti ‘Ma- 
 donna” (of the Second Period) at Rome and the slight failing of his powers, 
 altho’ not marked, shows in the ‘Sibyl’? (Third Period) in Fontegiusta, 
 Siena. In all, a tremendous record of work is comprised in these years, espe- 
 cially. when it is recalled that he was much of the time working with Bra- 
 mante, and later for himself, on St. Peter’s, and elsewhere was busy on 
 private commissions. 
 
 Peruzzi’s “first architectural work’, according to Matas, was the church 
 of San Sebastiano in the Via Vallepiatta, Siena (Pl. 6.). This, which 
 Romagnoli also attributes to him, was begun in 1507 (Milanesi) and 
 erected by the Weavers’ Guild of which the elder Peruzzi as a weaver may 
 have been a member. A sketch plan by Peruzzi is now in the Ufhzi. 
 
 Near Siena the villa Chigi-Mieli, or Le Volte (The Vaults) as men- 
 tioned in letters of the day, is believed to be his work. (Pl. 7-8.) From the 
 original owner, Sigismondo Chigi, it finally passed into the hands of Signor 
 Mieli, who courteously allowed me to fully inspect it. A tablet on it bears 
 the following inscription: 
 
 Sigismun Chisius Hoc “Sigismondo Chigi 
 Curarum Refugium built this refuge 
 Extruxit from cares. 
 AD: M.D. EYRE, 1505” 
 
 After Agostino Chigi’s death in 1520, Sigismondo came to the Farnesina, 
 Rome, and it was his wife ‘“‘Porzia’” who trusted Cellini on sight, gave him 
 her diamonds to set when he was drawing from the Farnesina frescoes and 
 generally flattered him, as he so naively sets forth in his autobiography. “The 
 plan of the Farnesina seems like an adaptation of that of the Chigi-Mieli 
 villa, and other details of the latter also are like Peruzzi’s later Roman 
 work. | 
 The Fonte Pescaia, Siena, is his, according to local tradition, but, if so, 
 it belongs to this early period. Its brick details are most interesting. A fine 
 house front on the Via del Corso, Siena, is also attributed to him, by Messrs. 
 Grandjean and Famin.!_ A striking use of the round arch and a beautiful 
 cornice appear in this building—altogether most attractive externally—but 
 Professor Mariani, of Siena, thinks it may be earlier than Peruzzi’s time. 
 
 1Jn “L’Architectura Toscana’’, Paris, 1806. 
 
8 LTE EAN De RR oie 
 
 Peruzzi’s writing in his sketch-book, now in the Siena Library, states, 
 “Tt belonged to me, baldasare perucio, and I gave it to Messer jacomo 
 Melighino and to Messer pier antonio Salimbeni.” 
 
 Professor Herman Egger! believes that many of the sketches in this 
 book are copies of Peruzzi’s designs, possibly made by one of his pupils in 
 1580, and that it is probable that the copies of designs for fifteen triumphal 
 arches, are the ones of which the forms, immediately after Peruzzi’s death, 
 were carried out by Antonio da San Gallo, The Younger, for the mag- 
 nificent triumphal entry of Charles V. into Rome, April 5th, 1536. ‘There 
 are similar sketches of Peruzzi’s in the Berlin Royal Gewerbemuseum. 
 
 It is barely possible that this ‘‘pupil” who copied the designs was Antonio 
 di Lari (“Il Tozzo”) whose work in Siena was closely modelled on his 
 master’s, but they may have been done by a certain Francesco da Siena who, 
 Vasari says, possessed some of Peruzzi’s drawings after his death. Perhaps 
 it was Peruzzi’s own drawing of himself that Francesco traced from the ~ 
 margin of this sketch-book and sent to Vasari for reproduction; it is not 
 unlike the woodcut of the early editions of Vasari in some particulars, and 
 this likeness Vasari states he received from Francesco, but the end of the 
 nose and the cap in the woodcut are unlike the drawing. 
 
 Before he left Siena, Peruzzi was a good-looking, even picturesque char- 
 acter, full of enthusiasm, a maker of friends not only among his fellows, but 
 including older and sedate men, such as Sigismondo Chigi and other Sienese 
 who proved their friendship later. His was surely an inspiring, cultivated 
 personality with something too of the spirit of the peasant who today sings 
 at work in the field. No little of Italian kindness and courtesy show in 
 his face. His dress at about this time, or soon after he got to Rome, indi- 
 cates no disdain of bright colors or of style, but rather an appreciation of 
 both within bounds, and a lightness of heart controlled by a certain serious 
 determination evident in the strong mouth and nose. 
 
 All in all here was a figure to take both the eye and the heart of the 
 men he was to meet in the Eternal City, men of taste, such as the friends of 
 Bramante and Raphael, quick to see the beautiful. With what joyful an- 
 ticipation then must he have set forth with his brotherly chum Pietro, to 
 try his fortune among them, to share their joys and woes and help kindle 
 there the glow that was to illumine the Golden Age! His star surely was 
 in the ascendant! In that important journey every slight incident must have 
 seemed an adventure, every jest a roaring joke, each meal at inn or under 
 hedge a banquet, the skies were never before so blue, the sun so bright, while 
 the very birds sang especially to them from field and vineyard. Did they 
 walk or ride on that trip over four hundred years ago? We shall never 
 know, but it is not unlikely that Agostino and Sigismondo Chigi helped speed 
 them on their way from glowing Siena, Siena to which Peruzzi especially 
 was often to turn for honors and even for shelter, Siena which never once 
 forgot or ill-treated him. 
 
 1“Entwurfe Baldassare Peruzzi’’, Wien. 
 
RAED ASSARE PERUZZI 9 
 
 GHAP TER Ti 
 ROME—1I503-I5II 
 
 At Rome in 1503, where his friend Pietro da Volterra had been em- 
 ployed, painting in the Vatican by Pope Alexander VI., young Peruzzi was 
 also engaged in the same work. After Alexander’s death, this same year, 
 1503, Francesco Piccolomini of Siena became Pope Pius III, who also dying 
 this year was succeeded by Giuliano della Rovere of Albissola, as Pope Julius 
 II., a most fortunate accession for the fortunes of certain artists in Rome, for 
 then began the “Golden Days” so well described by Lanciani. Pietro then, 
 ‘according to Vasari was no longer employed in the Vatican, and Peruzzi 
 succeeded in entering the workshop of the father of the painter Maturino, 
 later the partner of Polidoro da Caravaggio, where, altho’ Vasari’s story 
 of Peruzzi’s first painting of the Madonna for his master is interesting, he 
 could hardly have been inspired later by Maturino’s father, a busy but not 
 famous craftsman. However, his acquaintance with Maturino and Cara- 
 vaggio may have developed his later talent as a great designer in fresco and 
 the decoration of facades in terretta. “he story goes that Peruzzi was given 
 a prepared panel and asked to paint a Madonna, whereupon without having 
 previously made a cartoon, he produced a picture which was much admired. 
 In the Accademia delle Belle Arti at Siena, is a painting, representing the 
 Madonna and Child, the latter holding a pomegranate, and little St. John 
 looking on. ‘his has been recognized by Mr. Berenson as an early work 
 of Peruzzi formerly attributed to Pintoricchio.! “Vhe background is covered 
 with a decorative pattern in tooled gold leaf. If this is Peruzzi’s, which is 
 not at all improbable, it shows him capable of good work even then, and gives 
 an idea of the early style which, according to Vasari, so pleased his Roman 
 friends. His Roman dwelling in these days was probably where most of 
 his confreres lived in the Borgo Vecchio, a quarter convenient for workers 
 at the Vatican, and later, in 1511, he perhaps lived elsewhere. 
 
 When Peruzzi arrived there were a few painters of ability in Rome, 
 and Mintz says that his presence stimulated the small colony to better work. 
 Peruzzi, in spite of Pietro’s dismissal, must have worked at the Vatican, from 
 his arrival, off and on, until 1507-8, when Raphael arrived and took general 
 charge of the decorations by order of Pope Julius II. This work had already 
 attracted Bazzi (Sodoma), Perugino, Pintoricchio, Signorelli and Lorenzo 
 Lotto, Lo Spagna, Jan Ruysch the Fleming, Andrea Veneto, etc. Bazzi 
 was decorating the Camera della Segnatura, the second room of the Stanza, 
 in 1508, when on the 15th of October, he was discharged with a payment 
 of 50 ducats, as also were Perugino and Signorelli, between 1508 and 1509. 
 In spite of his orders to obliterate the work of his predecessors, Raphael re- 
 
 1 Also so attributed by Ricci. 
 
10 Cdl Ered NDS te OR es 
 
 tained the grotesques of Bazzi, some of Perugino’s work and of Peruzzi’s 
 considerable of his ceiling in the Camera d’Eliodoro which Baldassare finished 
 later, all except a small portion done by another assistant of Raphael. Copies 
 of the work destroyed were made by Raphael, for what purpose it is hard 
 to imagine, unless for comparison with his own designs, and these copies 
 were afterward collected by P. Giovio in his Como museum. 
 
 About 1503-9 or a little later, Peruzzi made the design for and built 
 at least part of the church of San Rocco-a-Ripa, (Pl. 9) Rome, and deco- 
 rated two of its chapels. A sketch of the plan and front is in the Uffizi. 
 Crowe and Cavalcaselle date the decorating ‘shortly after 1517.’ At this 
 period, to 1504-5, he went to Ostia, where for Cardinal Riario he decorated 
 rooms in the fortress with the assistance of Cesare da Sesto of Milan. One 
 of the subjects was the Three Graces of which Frizzoni says he saw a 
 remnant in the Chigi palace in Rome, and it is now in that collection. He 
 also did for Julius II., in the Vatican, in a new aviary near the roof, the 
 decoration of a corridor, showing the months and seasons, introducing in- 
 numerable edifices, theatres, amphitheatres, palaces, etc. ‘This is now 
 destroyed, as is a casino in the Vatican, designed by him in 1512 for Pope 
 Julius IT.? 
 
 A most interesting document, proving the friendship of Raphael and 
 Peruzzi at this period is mentioned by Marco Minghetti, in his life of 
 “Raphael.” Of this document he was informed by N. Corvisieri, (Nuova 
 Antologia, 2nd series No. 39, 1883-—Note to p. 613). Mlinghetti gives it 
 as follows: (Translated) “In an ancient ledger of the chief fraternity of 
 the Lombardi near the Church of 5. S. Ambrogio e Carlo in Via del Corso 
 (Rome), there is the following record—‘Iwo houses left by the Cardinal 
 Alessandrino in 1509, were leased by the Hospital until the second generation 
 to the brothers (sic) Baldassare and Pietro Peruzzi, painters, Raphael Sanzio 
 da Urbino going security for the repairs as shown by the lease dated Novem- 
 ber 18, 1511, with the attestation of Andrea de’ Persis, notary.’ “The deed 
 recorded in a vellum volume is still preserved in the archives of this chiet 
 chapter of the fraternity. But being left several days under water with many 
 other documents of this library in an inundation which occurred during the 
 pontificate of Clement VIII., it is in great part illegible, but the account 
 book memorandum, of which I have spoken above, testifies to its substance.’’* 
 
 This as Minghetti says is a most important communication, not only on 
 account of the revelation of the intimacy existing between Raphael and 
 Peruzzi, but also for another fact, the value of which Minghetti apparently 
 does not realize, i.e. because it alludes to Peruzzi having a brother Pietro, 
 whom even Milanesi does not mention in his chart of the Peruzzi family. 
 It would seem from this that possibly Peruzzi’s brother was also a painter 
 and worked with him in Rome in 1511, unless it was indeed Pietro da 
 Volterra who took Peruzzi’s name. It also is interesting, although not 
 
 1 \Vasari, 
 
 2 Matas. 
 3 Raffaello’. M. Minghetti (note on p. 111) N. Zanichelli, Bologna, 1885. 
 
Berto aos Sadie he PoE RUE LZ I 11 
 
 proving any relationship, that Raphael’s great grandfather who fled from 
 the sack of Colbordolo by Sigismondo Malatesta, was named Peruzzolo 
 Santi, but undoubtedly Raphael’s friendship for Peruzzi grew wholly from 
 his appreciation of the latter’s character and ability as an artist, for Raphzel’s 
 ability to recognize and appreciate the great gifts of other men is notable. 
 
 Of Peruzzi’s exact personal appearance at about this period it is for- 
 tunately easy to form an idea by the discovery of his oil portrait of him- 
 self. (Frontispiece.) From this it is clear that he was rather thin than 
 stout, his face serious almost to severity, complexion clear and light, eyes 
 dark and piercing, hair, beard and moustache brown. He wore his hair 
 long, falling to the shoulders and it was very slightly wavy, parting in the 
 middle over his forehead. “The dress and especially the black velvet cap 
 recall Raphael. ‘The vest is greenish blue, one of Peruzzi’s favorite colors, 
 set off by a border of orange color and tied up the front with three knots 
 of dark ribbon. “The mantle is dark and the shirt edged with lace reaches 
 to the top of the shoulders. Altogether the face is that of an artist of 
 unusual refinement, beauty and strength of character. It is the only oil 
 portrait of him known, and was found in northern Italy. 
 
 ‘The semi-domed apse of the church of San Onofrio al Gianicolo con- 
 tains Peruzzi’s first decoration in Rome outside the Vatican. ‘This commis- 
 sion was said to have been secured for him early by his Roman friends and 
 admirers. It is pronounced by Frizzoni,! to be entirely Peruzzi’s work. 
 Pintoricchio and Sodoma then influenced him in painting, as did Alberti 
 and Bramante in architecture, yet his style in a building or a picture, is always 
 distinctly his own, altho’ showing traces of his study of others’ work. He 
 never merely imitated, and this is proved by the fact that the characteristic 
 faults of others are seldom to be found in his designs. Nowhere, for instance, 
 do we notice in his paintings any of the exaggeration of size, form, or muscle 
 that critics remark in Michel Angelo’s work as marking the beginning of 
 the decadence, and yet he also must have admired Buonarroti’s figures greatly 
 and felt their influence. His architectural designs too show ever increasing 
 knowledge and power up to the very end of his life. 
 
 With Pintoricchio he painted in San Pietro in Montorio, a fresco. ‘The 
 Four Virtues, a Coronation and David & Solomon the latter very deco- 
 rative and full of dignity. 
 
 In these early Roman days, Vasari says, he painted several apartments 
 in the palace of San Giorgio, for the Cardinal Raffaello Riario, Bishop of 
 Ostia, in company with other painters, and various paintings on a front 
 opposite the palace of Messer Ulisse da Fano and on the front of the latter 
 palace “stories from the life of Ulysses’. All these have vanished, but in 
 the Uffizi there is a design, Milanesi says, touched up in white, for the front 
 of a palace; also he did a front, now destroyed, in ferretta with views in 
 perspective, situated between the Campo di Fiore and the Piazza Giudea. 
 
 1“T) Buonarroti”, March 1871 (art journal), under the title “Di Alcune Opere di Disegno 
 du Rivendicare al Lora Autore, l’Artista Sanese, Baldassare Peruzzi’. 
 
2 LYRE AN DOE Raise 
 
 In 1503-13, according to Frizzoni, he designed the present excellent 
 mosaics in the crypt of Santa Croce in Gerusalemme, Rome, which have been 
 much praised. (Pl. 10.) Albertini,! however, writes of them in 1500, so 
 either they, or earlier counterparts, must have been there then. ‘The sacristan 
 tells visitors that these mosaics are earlier work and were restored, but gives 
 no authority, and authorities state definitely that they were Peruzzi’s. “They 
 are very poorly lighted. The background is gold mosaic, in the centre is 
 Our Saviour, the Four Evangelists in four ovals at the sides, and above are 
 the Making of the Cross, four Saints and the kneeling figure of the donor, 
 Cardinal Carvajal. 
 
 In architecture, Bramante, whom he probably met through Raphael. 
 soon after he reached Rome, must have seemed to him the great architectural 
 scholar and savant, as well as the inspired architect whose work revealed very 
 clearly the value and the necessity of a schooling from the antique, but altho’ 
 Bramante’s influence is evident, Peruzzi is always himself. He worked for 
 and with Bramante before 1506, collaborating on all the designs for St. 
 Peter’s before construction began, Von Geymiller says. ‘Together, too, 
 according to tradition, they designed the “Ospedale degli Eretici Convertiti”, 
 “the degli Eretici Ravveduti” near the Piazza of St. Peter’s and the Vidoni 
 or Giustiniani-Bandini palace (Pl. 11). ‘Taking all this association with 
 Bramante into consideration it is remarkable that Peruzzi was never afraid 
 to depart from the classic, when necessary, but in so doing he was never lost, 
 remaining always the great master of line, proportion, ornament and con- 
 struction. His knowledge of classic art and story, his innate sense of pro- 
 portion and scale, his noted mastery of perspective wherein he excelled, 
 constantly produced the most inspiring works even when in designing the 
 exterior of a building he wholly abandoned the orders, as he often did. So_ 
 carefully did he keep proportions in mind that even his solid plain walls, as 
 at Siena, never lacked classic feeling and striking virility. 
 
 Although we can imagine from Piranesi’s grand series of etchings made 
 between 1741 and 1778, and from other works, how even more interesting 
 than those prints were the remains of Rome when Peruzzi first saw them 
 in a better state of preservation, still it is difficult now to fully appreciate 
 the enthuiasm that these ruins awoke in the artists of his time. Peruzzi, 
 like all most thorough and serious students, measured and studied everywhere 
 such monuments as he could, and even, as already stated, began a treatise 
 thereon and made drawings for it. It is evident that wherever he could 
 find an early building or ruin, he made a graphic note of it, often with 
 careful measurements and always in-an interestingly appreciative way. He 
 evidently traveled considerably and his sketches still extant show that he 
 made drawings in and near numerous cities of Italy. Undoubtedly too time 
 has destroyed many others of his sketches. He was enabled to afford this 
 study partly in the usual course of his work and partly through the help 
 given him by Agostino Chigi, also of Sienese origin, whose friendship for 
 
 1In “De Mirabilibus Novae et Veteris Urbis Romae’’. 
 
pee Sw A KE PERU A ZL 13 
 
 Peruzzi was marked by many other evidences of appreciation of his fellow- 
 townsman’s genius. 
 
 -On April 18th, 1506, the corner stone of St. Peter’s was laid and the 
 huge construction was begun from Bramante’s gigantic plan. ‘This design 
 showed the influence of his friend Leonardo da Vinci’s studies for domed 
 churches and finally proved too much for even the great resources of the 
 Church to finish. The troubles attending the reconstruction of its founda- 
 tions later consumed months of Peruzzi’s time which otherwise employed, 
 had a better plan been chosen, would have yielded him greater architectural 
 fame. 
 
 About 1508-9 Agostino Chigi commissioned him after his return from 
 Ostia to design the splendid villa or palace and accessory buildings in ‘Tras- 
 tevere, Rome, known formerly as the Chigi, or Lungera, and now called the 
 Farnesina (Pl. 12) which Chigi built for his “beloved Imperia’”’. Peruzzi 
 began this in 1509, probably finishing the architectural part in 1511, although 
 Cugnoni says 1510. No student of architecture and painting in Rome who 
 appreciates Peruzzi, Raphael, Sebastiano del Piombo and Sodoma misses 
 seeing it, for these and other great artists were employed in its completion. 
 It is E shaped in plan, “an elegant crypto-portico beloved of the ancients’’. 
 A rough sketch plan of the large portico or hall opening on the garden and 
 a rough general exterior perspective and details, are now in the Uffizi, but 
 all the formerly open porticos now have windows in the arches. 
 
 The materials of the building are brick and peperino, a stone formed 
 of volcanic ashes, and the exact tones are so obliterated by weathering and 
 ruin that it is impossible to imagine the original color effect, for stucco ap- 
 parently covered all the brickwork. ‘The external terretta decoration which 
 Peruzzi here and elsewhere used and carried almost to perfection, is executed 
 by incising the design upon a coat of fresh plaster and filling in the sunken 
 lines with black or white made of argillaceous earth (whence terretta) 
 found in Rome and near Florence, and with charcoal and powdered traver- 
 tine. Lights and shadows are obtained by judicious use of the filling. There 
 is also a similar process called sgrafito, done by putting a thin light colored 
 coat over a dark background and scratching the design upon this through 
 to the dark ground. It has already been hinted that his great ability in 
 this method was probably helped by his association with the masters Maturino 
 and Polidoro Caldara da Caravaggio who did not surpass him, altho’ Cara- 
 vaggio was later very famous. 
 
 The beautiful and originally treated exterior frieze (Pl. 13) of the 
 Farnesina was copied with variations thirty years later by Sansovino on his 
 library of St. Mark, Venice, as well as used by others. ‘The introduction 
 of windows between the ornament of the frieze was an original idea of 
 Peruzzi’s, as far as critics can discover, but the children with garlands of 
 fruit form a classic motive often used, altho’ it may have been directly sug- 
 gested to him at this time by the base of the tomb of [aria del Caretto in 
 the Duomo at Lucca. This was by Della Quercia (1374-1478), of Siena, 
 
a LE I SAN De HeOLR KK areilc 
 
 whose work was highly appreciated there. There is moreover, a noticeable 
 likeness between the profile of Ilaria and that of the Sibyl in Peruzzi’s 
 fresco at Fontegiusta Church at Siena, which gives color to the above supposi- 
 tion. Peruzzi himself often repeated the motive of his Farnesina frieze, 
 sometimes inserting the windows without ornament. 
 
 Baron Von Geymiiller in “Raffaello Studiato Come Architetto”’, dis- 
 putes Peruzzi’s authorship of the Farnesina design and ascribes it to Raphael, 
 but Vasari says that Peruzzi “prepared the model which he executed in the 
 graceful manner we now see’’, and other writers, as well as tradition, have 
 pronounced it to be Peruzzi’s. — 
 
 Fabio Chigi, confirms Vasari and says also that not only the Farnesina, 
 but its stables were designed by Peruzzi, and adds, “he (Agostino Chigi) 
 gave Baldassare Peruzzi a coadjutor in the person of Raphael and consulted 
 others to control them.”! This appears true on the face of it because it 
 distinctly reveals the keen business methods of this shrewd Italian banker. 
 
 It is probably due to the intimacy and association of Peruzzi and 
 Raphael on certain works that it has been, and is, difficult to give each his 
 due credit. “This is especially true as to the church of Sant’ Eligio, and 
 the Chigi Chapel. Peruzzi’s style, however, is clearly evident in the archi- 
 tecture of the Farnesina, while a large part of the decoration inside and 
 out was also his work. Indeed, Raphael was quite busy and engrossed in 
 other labors for Pope Julius II. most of the time during the building of — 
 the Farnesina. 
 
 In a discussion following the reading of Mr. Bedford’s paper on Peruzzi 
 before the Royal Institute of British Architects,? it was stated that Gey- 
 miller does not prove his case and that Dean Aldrich of Christ Church, 
 Oxford, in the last century and a great authority and logician, unhesitatingly 
 attributed the Farnesina to Peruzzi. In London, the design of Dorchester 
 House, Park Lane, is based on’ the Farnesina. 
 
 Mr. J. Hubert Worthington states in a scholarly essay on Peruzzi in 
 the R. I. B. A. journal of October, 1913, that the porch of Santa Maria 
 in Domnica (Pl. 14), (Navicella), Rome, of 1513-14 which is proved con- 
 clusively by his Uffizi sketches to be Peruzzi’s, shows a spacing of the pilasters 
 corresponding with those of the Farnesina and their mouldings are alike; 
 also in the Palazzo Ossoli by Peruzzi, the two upper stories correspond with 
 the Farnesina in general proportions and treatment, especially in spacing 
 of pilasters, and in profiles of mouldings on the capitals in the court. Build- 
 ings at Siena show that Peruzzi often repeated his details. 
 
 Over the entrance to the Farnesina is an antique piece of ancient Roman 
 ornament of Greek character, peculiarly an indication of Peruzzi’s work, as 
 is seen over the door of his Ossoli palace (Pl. 15-16) over the door in the 
 loggia of his palace in Via Giulia (Pl. 14); over the door in his Pietro 
 Massimo court and elsewhere. No writer has drawn attention to this use 
 
 = Memoic of Agostino hig. 
 tee Gil nulveris wel: Aw November 1901 and October 1902, pp. 165-182. 
 
Peele A Oi SRA thls | PeeRAS ZZ 1 15 
 
 before, as being a mark of Peruzzi’s authorship, but it occurs in so many of 
 his works as to be almost a sign manual. 
 
 Besides these similarities there is the above mentioned villa Chigi, now 
 Mieli (Le Volte) (PI. 8) near Siena, credited to Peruzzi, which in gen- 
 eral outline of plan is E shaped and otherwise suggests the Farnesina. 
 
 Moreover, the Chigi family were especially friendly to Peruzzi, indeed 
 it would seem much attached to him by his undoubted genius and what they 
 knew of his origin. The Villa Vicobello too (Pl. 17) for the Chigi family, 
 near Siena, was designed by him and the aforesaid remnant of his fresco at 
 Ostia of the Three Graces, inspired by the marble group in the Piccolomimi 
 Library, Siena, was brought to Rome by one of the Chigi family to be 
 preserved in the Chigi palace; also Agostino Chigi helped Peruzzi in pur- 
 suing his studies at Rome, Vasari states, “but more particularly relating to 
 architecture’. It is in this connection quite significant that Chigi must 
 have fully appreciated his architectural ability as he helped him to study 
 architecture, not decorative painting nor astrology, nor engineering, in all 
 of which Peruzzi was also skilled and greatly interested. In the “Lettere 
 Senese”’ by G. Della Valle, Rome, 1786, a rare book which possibly Gey- 
 muller never knew, there is printed a letter by D. Sigismondo Chigi, en- 
 titled ‘Notizie di Baldassare Peruzzi’, showing again the constantly recur- 
 ring interest of the Chigi family in Peruzzi’s career. It was too for Chigi’s 
 town of Port’ Ercole that in 1531 Peruzzi designed casemates. “Thus all 
 along we see his constant association with the Chigi family. 
 
 Geymiller gives in “Raffaello Studiato etc.” the design of the stables 
 for which, he claims, Raphael gave the architectural order (according to 
 Vasari’s ‘“Raphael’”’) but Vasari and Geymiuller omit entirely the clear state- 
 ment of Fabio Chigi mentioned above. ‘The lodge design on the TViber’s bank 
 is also restored by Geymiller, but he fails to note how much the arches, 
 alternating with pilasters, on this and on the open porticos of the villa, sug- 
 gest Peruzzi’s “L’Apparita’ or farmhouse near Siena, and his little chapel 
 outside the Porta Camollia, and the Porta itself. 
 
 Finally, Milanesi made exceedingly careful researches and attributed the 
 design of the Farnesina to Peruzzi. In fact the evidence, both architectural 
 and literary makes the palace, stables and lodge his creations. 
 
 Hung with tapestries, the fine stables were later used as a banquet 
 hall and in 1518 were practically demolished, which was also the fate of 
 the lodge at an unknown date. 
 
 On the second floor (piano nobile) of the Farnesina, Peruzzi decorated, 
 possibly in 1511-12, the first room, No. 1 (Baedeker), with the famous 
 architectural views of the Borgo, the Janiculum and Rome, seen apparently 
 between dark, marble columns. ‘These views are fine examples of illusive 
 painting. The mythological frieze of this room, containing the Triumph 
 of Venus, Apollo driving the Chariot of the Sun, etc., is his also, for as a 
 classical scholar fond of work of this sort he was one of its chief illustrators. 
 Pietro Aretino praised these decorations, saying, ““[he Palace contained no 
 
16 ED EE AN DEO Tet a ae 
 
 more perfect picture of its kind’. Bazzi of Siena, in 1511-12, also painted 
 in room No. 11, adjoining, a masterpiece, the Marriage of Alexander and 
 Roxana, even now very fine in color. Of the Palace and its decorations 
 Crowe and Cavalcaselle say that Peruzzi “had already realized what Raphael 
 in later years was but hoping to attain—the “fine form of the edifices of 
 antiquity’, and that Guido’s Aurora in the Rospigliosi palace is not so 
 classically pure as Peruzzi’s Apollo driving the Chariot of the Sun. Vasari, 
 one of its earliest admirers, said of the villa “it was not built but born’. 
 
 Peruzzi later painted, and completed in 1518, the ceiling of the first 
 story room or portico next the Tiber. ‘This represents the Nymph Callisto 
 as the charioteer in the constellation of Perseus; in fourteen pointed arches 
 of the vaulting are other constellations; in ten hexagonal spaces the signs of 
 the Zodiac and the Gods of the Seven Planets mostly in groups. ‘The lunettes 
 are by Sebastiano del Piombo, representing Ovid’s Metamorphoses, but ac- 
 cording to Frizzoni, one lunette also that differs from the others, a large 
 head in dark crayon, was by Peruzzi (some say by Piombo) and not by 
 Michel Angelo. The other tale, which seems improbable, was that Michel 
 Angelo visiting the Farnesina to see how Raphael was progressing, sketched 
 this grand head to indicate how he thought Raphael should work as to scale. 
 ‘This would have been rather an uncalled-for act on Michel Angelo’s part, 
 besides, the head is not in the room that Raphael decorated. Bracciolini in 
 his poem written about the Farnesina in 1627 does not connect Michel 
 Angelo with this design but says “Grand thing is art! And those know who. 
 have seen the head drawn in charcoal in the loggia of the -Chisi, to which even 
 the brush of Raphael is inferior’.t Bazzi and other Sienese painters did 
 the pilaster arabesques, and according to Griiner, Gaspard Poussin later did 
 the landscape work above the doors and windows, but this has been disputed. 
 Maratta retouched unsuccessfully the decorations of this room. 
 
 Vasari relates that Titian and he visited this portico room in the Farne- 
 sina and admired Peruzzi’s perspective painting of ornament on the ceiling 
 and ‘Titian could hardly be persuaded that it was not in actual relief, and was 
 only undeceived by changing his point of view. ‘The effect even today makes 
 this story credible. 
 
 Raphael in 1514 also personally painted here the decoration of Galatea 
 borne over the sea in a shell with attendant tritons, nymphs and cupids, and 
 Sebastiano del Piombo on the left of it painted Polyphemus singing to 
 Galatea. In the eighteenth century the latter work was ruined by attempted 
 restoration. “The paintings of this room form one of the most successful 
 examples of mural decoration, wonderfully harmonious in color and, as a 
 whole, better in tone than Raphael’s famous decorative (but restored) story 
 of Cupid and Psyche painted later than his Galatea, in the adjoining hall 
 or portico, which has for many years been the noted room of the palace, 
 some visitors not even knowing of Peruzzi’s work in the next room toward 
 
 1“The Farnesina”’, A. Venturi. 
 
Bae Jah os Oe de ERAS ZT 17 
 
 the Tiber, or in the other room toward the Corsini palace, and in room 
 No. 1 on the second story, the latter being for years attributed to others. 
 
 In the room on the first floor toward the Corsini palace he painted a 
 frieze of gods and goddesses, fables of mythology, children, tritons and river- 
 gods. Crowe and Cavalcaselle say, ‘“‘Nothing can be more fancifully or 
 more powerfully handled than this graceful and well arranged series, nothing 
 more like Peruzzi than the plastic nature and action of the figures. It is 
 the work of a man who has studied Michel Angelo and Raphael without 
 abandoning his own originality, who has become chastened by contact with 
 great contemporaries’. But better than this, it is the work of a man who 
 had gone to the same classical sources as they and interpreted and grasped 
 the principles for himself. All his work at the Farnesina justifies the praise 
 of Eugene Mintz, who wrote, that, “of the architects who sought fortune 
 at Rome he was the most elegant, the most refined, the most independent”’. 
 
 Little if any comment has ever been made on Baldassare’s keen judg- 
 ment of men, his quiet but strong resentment of ill-treatment and his evident 
 sense of humor which were probably developed considerably by his experi- 
 ence during the building of the Farnesina. It was impossible that a man 
 of such natural powers of observation could meet associates and clients such 
 as his, and not become discerning and appreciative as well as fond of a 
 joke. ‘That he was all these is proved by one of his drawings, discussed as 
 follows: The Catalogue of the Louvre, 1841, says that Mariette and the 
 prelate Bottari go further than Vasari in the interpretation of a certain 
 design by Peruzzi of an Allegory of Mercury, formerly in Mariette’s collec- 
 tion but now in the Louvre, and mentioned by Vasari at the end of his 
 “Life of Peruzzi’. Mariette and Bottari “think that Peruzzi in a fit of 
 ill humor against misfortune and the injustice of his time made therein a 
 satire of artists more occupied in amassing wealth than in studying the secrets 
 of art; he, at the same time, rendered justice to several celebrated virtuosi 
 (who are) solely occupied with the means of instructing themselves and 
 becoming distinguished by their works. In the group at the left of the 
 spectator they recognize by his decorous bearing, by the beauty of his features 
 and his youth, Raphael talking with a man of letters; his page, plagueing 
 a little dog with a bellows of which the master has scorned to avail him- 
 self, appears to have been put into the scene only to show the stately life of 
 this master (i.e. in having a page). Michel Angelo is in front of him and 
 is talking with Fra Bastiano del Piombo who is clad in a long robe in his 
 character of Keeper of the Seals of the Papal Chancery. ‘This painter turns 
 his head toward Michel Angelo and seems to hesitate to advance toward the 
 statue (of Mercury). Giovanni da Udine equally beloved by Michel Angelo 
 and Raphael appears to them to be he who carries his hand familiarly on 
 the shoulder of the first. At a place more distant at the right of the spec- 
 tator Peruzzi is talking with a friend. His head although of a small size 
 does not in the least resemble the portrait placed at the beginning of his 
 
 Bier, 
 
18 DIE E @aN DROW O Rik, (Or 
 
 ‘Mariette and Bottari believed that they recognized in the doctor who 
 holds an alembic, carries glasses on his nose and a hood on his head, the 
 caricature of A. San Gallo, The Younger, an architect very persistent in 
 claiming for himself all undertakings to acquire wealth and honors. Finally 
 the stout, bald man armed with the long pincers seems to them to resemble 
 Bramante whose great avidity equalled his talents. ‘The prelate Bottari 
 does not think he has exhausted all the discoveries which this composition 
 offered him. He is satisfied to put people upon the track who would try 
 to make new ones’. 
 
 Inasmuch as Peruzzi would hardly have caricatured Bramante after 
 his death, which took place in 1514, it 1s almost certain that this drawing 
 was made before that date and probably after he had finished the actual 
 construction work of the Farnesina and learned the characteristics of Piombo 
 
 and San Gallo. 
 
Pee Soa RE PRR OU ZZ I 19 
 
 CHAPTER III 
 ROME—I5I11I-1514 
 
 ‘The decorations of the Farnesina must have been well along by 1510 
 for they were first described in 1511 by Gallus Egidius,! and later by Biagio 
 Palladio in “Suburbanum Augustinii Ghisii”. The latter praises not 
 Raphael’s Galatea (1513-14) but Peruzzi’s Venus (1511-12). In 1693 
 N. Dorigny made the best set of prints of the decorations ever published, 
 now very rare. 
 
 In 1519, some years after the Farnesina was finished, Siena then becom- 
 ing famous for its players, Agostino Chigi and his wife Francesca, engaged 
 a Sienese company of actors to play in Rome and probably at this Trastevere 
 villa. 
 
 ‘The Farnesina holds its present name from its purchase by the Farnese 
 family in the middle of the sixteenth century. ‘They sold it in 1731 to 
 Don Carlos, King of the Two Sicilies, and in 1860 it was leased for ninety- 
 nine years by Francesco II to Bermudez de Castro, Duke of Ripalda, who 
 died in 1883. He is mentioned in “The Courts of Memory” by Madame 
 de Hegermann-Lindencrone (nee Lillie Greenough) who with friends took 
 tea in the Farnesina gardens. 
 
 In the Chigian library at Rome is a medal of Agostino Chigi, of which 
 Venturi gives a print in his book on the Farnesina. Lanciani? mentions 
 another excellent likeness in Pier Leoni Ghezzi’s volume of original drawings 
 in the office of the Curator of Antiques, British Museum. ‘The life of this 
 famous financier reads like a romance, and is of special interest in connec- 
 tion with his friendship for Peruzzi. 
 
 Born about 1465 at Siena, he was the founder of the Roman branch 
 of the family of Chigi, the son of a prosperous tradesman, and coming young 
 to Rome was well established at twenty years of age. 
 
 Beginning as an art lover he gradually became a great collector and 
 hundreds were helped by his generosity. Great wealth came through his 
 ability as a corn merchant, banker and owner of alum mines at Agnano and 
 Ischia and of others discovered in 1462 at Monte Volfa, near Civita Vecchia, 
 where he built a church; also through working the Papal and Neapolitan 
 salt mines. “The alum mine privileges he took away from Lorenzo de 
 Medici by wheedling Pope Leo X., and nevertheless retained the friendship 
 of the Medici family. As one of the most notable men of Italy, both finan- 
 cially and socially, he was given charge of the Papal finances by Pope 
 Julius II., until the Sultan called him “the great merchant of all Chris- 
 tianity”. An apostolic notary and epitomist, he also conferred diplomas, 
 
 1Jn “De viridario Augustini Chigi patritii Senensii, libellus Galli Egidii Romani poe. laur.”’ 
 7) 
 
 2In “Golden Days of the Renaissance in Rome”’. 
 
20 ETF EB AN Dia ORGS 20 
 
 mitres and cardinals’ hats. Judging by contemporary accounts, he was a 
 man of good taste and broad sympathies, extremely shrewd, diplomatic and 
 interested in the men and the events of his day; a royal money maker and 
 an equally royal spender and host. His power was incredible, for he backed 
 Caesar Borgia with his financial aid in that leader’s war against Urbino, 
 and loaned the Venetian republic the value of 125,000 scudi; secured the 
 privilege of admission to the “Serenissima” and was allowed to sit beside 
 the Doge in the Senate, so that even at Julius’ request the Republic would 
 not free two of Chigi’s debtors, and when one escaped to Turkey, the Sultan 
 as a favor sent him back a prisoner to Rome. With his own ships sailing 
 many seas under his personal flag; owning many villas on the Campagna, 
 the Serpentaria outside the Porta Salaria, Castel Giuliano bought of the 
 Corsini, and Sirano, Fiorano, Scorrano, Leprignano, San Pancrazio, and 
 Pontemolle, he established his central banking house at Rome to direct 
 eventually a hundred branches through Italy, besides others at Constantinople, 
 Alexandria, Cairo, Lyons and London, etc. and his affairs kept about 
 twenty thousand people at work. He also ruled like a king at Castel Vacone, 
 Atessa and Port’ Ercole and owned the fishing of the lake Fucino and of 
 Fogliano. 
 
 Julius II. was like a brother to him, for in addition to entrusting him 
 with the Papal finances, he gave him the privilege of adding to his coat 
 of arms the Della Rovere “Oak” with golden acorns, as if Chigi was one 
 of his own family and borrowed 400,000 scudi from him on the richly 
 jewelled Papal mitre “il Regno” as collateral. When Alfonso I. of Este 
 interferred with Chigi’s interests, Julius made war upon Alfonso. 
 
 Leo X. was present at Chigi’s marriage and later baptized his son. 
 It was Chigi who, in 1507, had Bramante design for him a triumphal arch 
 to Julius II., on his return from war, and who later composed the lines 
 on another arch erected after the election of Leo X. i.e. “Formerly Venus 
 ruled, then Mars, now Pallas holds her sway!” referring successively to 
 Alexander VI., Julius II., and Leo X. Living figures representing Olympic 
 deities stood in the niches, and a nymph recited verses to the passing Pope. 
 
 With an income estimated at $700,000 a year (70,000. gold ducats) 
 Chigi’s entire life in Rome was on such a scale as to attach to him the title 
 which Cugnoni repeats in an interesting work, ‘Agostino Chigi, Il Magnifico” 
 (Rome 1881-83).1 It was Chigi’s encouragement which caused the printing, 
 by Cornelio Benigno of Viterbo, of the works of Pindar,? the first Greek 
 book printed in Rome. Chigi died in Rome in 1520. A descendant, Fabio 
 Chigi, the writer of the “Memoir of Agostino Chigi”, became Pope Alexander 
 VII. in 1665 and Don Mario Chigi, a marshal of the Roman Church became 
 later the head of the family in Rome. 
 
 The Chigi chapel (Pl. 19), in Santa Maria del Popolo, Rome, contains 
 the tomb of Agostino. Vasari says that Chigi ordered it built “under the 
 
 ' Also see Gregorovius “‘Geschicte der Stadt Rom.” (English translation, London 1894-1900.) 
 2 See Cugnoni, and Venturi also. 
 
Mesroa aah PERU ZZ I 21 
 
 direction of Raphael”, but Chigi and Raphael both dying, the entire project 
 fell to Sebastian del Piombo and was neglected. As he was not primarily 
 an architect he possibly turned for assistance to his friend Peruzzi whom he 
 especially liked and trusted. Raphael also may have had earlier the assistance 
 of Peruzzi. Geymiiller published a plan of the chapel which he claims is 
 by Raphael, but Peruzzi’s detail also is evident in the chapel and_ its 
 Corinthian order is remarkably like that of Peruzzi’s which Serlio published. 
 Lalande and Letarouilly believed that Peruzzi was the architect. Under the 
 marble head of Chigi in profile is the following inscription: 
 
 AGOSTINO CHISIO 
 SENENSI 
 VIRO ILLUSTRI 
 ATQUE MAGNIFICO 
 SACELLI HUJUS FUNDATORI 
 QUI OBITT AN DOM MDXx 
 
 Another sketch of Peruzzi’s in the Uffizi, is for a chapel in this same 
 eaurer ?t. 20). Chigi built another chapel in 5. M. della Pace. 
 
 It is easy to believe that with such a Macaenas Peruzzi must have 
 entered enthusiastically upon his architectural life at Rome. 
 
 Undoubtedly much of Peruzzi’s Roman work was done before 1522 
 when he went to Bologna and other cities, and the church of Sant’ Eligio 
 or 5. Alo degli Orefici (Goldsmiths) (Pl. 21) near the Tiber, a Greek 
 cross in plan, was built about 1509, though some think later, probably by 
 Raphael and Peruzzi, and perhaps principally by Peruzzi. It was rebuilt 
 or much restored in 1601. Peruzzi had left the Vatican in 1509 to begin 
 the Farnesina, and Raphael and he might naturally have associated on this 
 church. Bramante also has been named as its architect. Mr. Worthington 
 praises the interior, which is excellent in proportion, the arms having only 
 a slight projection in plan and the height being two and one half times the 
 diameter of the dome. ‘The latter is carried on a drum set on pendentives. 
 
 Aristotile Sangallo made a drawing of the cupola and wrote on it 
 “Di Mo. Baldassare da Siena, Chiesa delj (1) Orifice in Rome de pezxi lavatori 
 di pietra piana’, (literal). Von Geymiller gives a reproduction of a draw- 
 ing which he attributes to Peruzzi’s son Sallustio, on which is written “S. 4/o 
 degli Orefici in Strada Giulia. Inverso in fiume opera di Raff, di Urbino”. 
 The cupola is somewhat like Peruzzi’s design for that of San Petronio, 
 Bologna. 
 
 Rome is often said by hurried travelers to possess few interesting palaces, 
 but the contrary is true. In the older quarters of the city there are many 
 which are peculiarly interesting, many by Peruzzi alone and some designed 
 with an associate. “They are full of instructive details and remarkable in 
 the finished quality of plan and elevation. Of the numerous smaller palaces 
 and houses designed by Peruzzi for well-to-do Romans, who recognized his 
 
22 LL E* aN DUWAGRIE SOE 
 
 ereat talent and were glad to avail themselves of it (probably knowing that 
 he was an easier man to manage than Bramante or San Gallo), there are 
 many still left, although others have probably disappeared in the changes 
 of four hundred years. It is impossible to give the exact dates of all of 
 these, but they may be roughly classified by the character of the respective 
 designs, indicating his earlier and later styles. ‘Treating of these dwell- 
 ings, M. Leon Palustre in “L’ Architecture de la Renaissance’ has made the 
 following observations ;— | 
 
 “The palaces (in Italy) are not the only buildings worthy of study. 
 There are in most cities of some importance, dwellings of the second rank 
 whereon much talent has been spent. ‘This is not astonishing when one 
 reflects that at Rome, for example, people of the middle class, knowing the 
 good nature and unselfishness of Peruzzi, preferred to engage the services 
 of the celebrated architect. 
 
 ‘“Quatremére de Quincy who has made a special study of these facades, 
 some with a shop on the ground floor, built in the different quarters of the 
 citv, expresses himself thus about them ;—‘These elegant designs, true models 
 ot a kind suited to a majority of owners, will always be the object of study 
 by whomsoever shall wish to put the satisfaction of good architecture within 
 the reach of the less wealthy. ‘These are of the kind of buildings of which 
 Poussin seems to have made a mental collection to adorn the backgrounds 
 of his paintings and to compose those beautiful perspectives of ancient cities, 
 which in more than one of his works, share with the figures the admiration 
 of beholders.’ And so on, in praise of the excellence of Peruzzi’s work. 
 He then adds, ‘Works of this kind could never be too much studied by young 
 architects, who, struck with the grandeur of ancient Rome, too often forget 
 that cities are composed of dwellings and that their beauty depends more 
 on good taste diffused by art in the simple arrangements of particular habita- 
 tions, than in the erection of great monuments, of which many centuries 
 will scarcely suffice to see the completion.’ ” 
 
 In the same vein Quatremére de Quincy further remarks: ‘“The true 
 connoisseur will pass without receiving any impression, before certain of these 
 great palaces (referring to others than Peruzzi’s) but he will feel himself 
 involuntarily stopped by the appearance of the charming facades with which 
 Baldassare Peruzzi has ornamented different dwellings of the more modest 
 kind. “The best constructions of Peruzzi, as of Palladio, are a sort of 
 practical school of architecture which meets the necessities of even com- 
 mercial cities’. 
 
 In the Via Giulia, where hot-tempered Cellini so often walked and once 
 outwitted a waiting assassin,. near the church of S. Giovanni Fiorentini 
 and next the former Collegio Bandinelli, is the palace by Peruzzi (Pl. 22) 
 which Letarouilly so beautifully illustrates. It bears the inscription on 
 a tablet over the central door inside, “COSMO - MEDICI - DUCI 
 FIOREN - II - PACIS ATQUE JUSTICIAE CULTORI’ -> The titee 
 
 doorway (Pl. 14) in the entrance loggia of this palace and the doorway 
 
WAU ASSARE PERU ZZ 23 
 
 of S. Michele-in-Bosco, Bologna (Pl. 51) were forerunners of his other 
 perfect entrance, that to the Pietro Massimo palace. ‘The front of the palace 
 in Via Giulia was once richly decorated in bronze gilt, fresco and grisaille 
 still discernible in 1823, but obliterated while the building was a cavalry bar- 
 racks in 1845. “The arched window in the niche contains a fountain. Ander- 
 son says that this arch with the square openings next it (Pl. 22) ‘‘foreshadows 
 the ‘motif a la Palladio’,” as indeed the opposite end does also. ‘The palace, 
 judging from its style, was built between 1509 and 1512. 
 
 In 1513 Pope Julius II. died. ‘This gave Chigi the chance to employ 
 Raphael more unreservedly, altho Leo X., coming to the Papal chair pro- 
 ceeded to justify Chigi’s prediction that during his reign art would come 
 into its own and “Pallas reign supreme.” 
 
 Letarouilly attributes to Peruzzi the large house No. 5 Via Governo 
 Vecchio (PI. 23) of which the detail corresponds in general to other dwell- 
 ings of his design. 
 
 Also we may confidently ascribe to him the very interesting house or 
 palace, Montalto, No. 7 Via Parione, almost unknown to students and 
 critics. “Lhis was built early in his middle period and still has its Peruzzian 
 entrance doorway and windows at each side, vaulted ceilings, courtyard 
 with columns (now built in) and in the second story a fine triple arched 
 loggia also partly closed with one window left in it, and a most beautiful, 
 decorated vaulted ceiling. “This still preserves its colors and details. 
 
 The house now belongs to the Society of the Piceni, a famous charitable 
 society of Rome, and a description of it in “Picenum, Revista Marchigiana 
 Illustrata”, given the writer by the president of the society, states: “The 
 building situated in Via Parione No. 7, is called the House of Sixtus V.,! 
 and that it belonged to the family of the great pontiff is shown by the paint- 
 ings which adorn the vaulted ceilings and wall, upon which is repeated the 
 coat-of-arms of the Peretti, quartered with that of the Orsini, in compli- 
 ment to Flavia of the house of the Peretti. She was a niece of Sixtus V., 
 who lived here, and wife of Virgilio Orsini, a son of Paolo Giordano duke 
 of Bracciano. In the first loggia (room on second story) from left to right 
 the vaulted ceiling shows praiseworthy paintings. In the centre of the 
 vault is pictured a group (Pl. 24) representing two Nymphs, and a Cupid 
 who is struggling with a Satyr. In the spandrels of the smaller ends (of 
 the vault) two well-drawn, beautifully painted nude female figures repre- 
 sent Morning and Night. Along the frieze occurring under the vault are 
 ten lunettes in each of which is represented one of the nine Labors of Her- 
 cules and also a group of Hercules and [ole. In the spandrels between the 
 lunettes are four mythological figures, of which one represents Ganymede 
 and the Eagle of Jove, another Leda and the Swan. In the intermediate 
 space between the frieze and the central group occur triangular spaces deco- 
 rated in the manner of Giovanni da Udine.” 
 
 1See also Luigi Callari—‘‘I Palazzi di Roma’’—Societa Editrici Dante Aligheri. Roma, 
 1907. 
 
24 LiL NED I ORI eee 
 
 The writer, Nada Peretti, records that the work is attributed to Bal- 
 dassare Peruzzi, Giovanni da Udine, and (later) ‘Taddeo Zuccaro. ‘There 
 is no record for whom the house was built, but I should say it was completed 
 before 1515. ‘There are some traces of restoration, but generally the frescoes 
 are in wonderfully good condition, the drawing excellent and the colors 
 harmonious. Many are of the best character of XVI century decoration and 
 not well known. Certain frescoes which allude to the members of the 
 Picini exalted by Sixtus V., and some others, must surely be later than 
 Peruzzi’s time, as Sixtus V. (Perretti) was Pope in 1585-90. ‘The frescoes, 
 however, of the vaulted loggia in the second story are probably all by 
 Peruzzi and his associates, and of the date of the house itself, as are the 
 frescoes of the early sixteenth century in a room on the ground floor, 
 reached from the adjacent wine shop. “This was formerly a loggia opening 
 from the court of No. 7 and has a vaulted ceiling decorated with arabesques 
 and grottesche showing the signs of the Zodiac, etc., with delicately drawn 
 leaf borders and small figures, all fast fading away. ‘This design is evi- 
 dently inspired by the mural decorations of rooms discovered in the ruins 
 of Rome, and Gruner in his Fresco Decorations etc., gives a fine colored 
 plate of it with an account of other paintings in the house. 
 
 At nearly the same period Peruzzi probably did the paintings ascribed 
 to him, on the ceiling of the chapel, also now owned by the Society of the 
 Picini, adjoining the cloister of San Salvatore in Lauro, Rome. ‘They are 
 three in number and illustrate Biblical subjects in which the postures, ges- 
 tures, figures and coloring are strongly Peruzzian. Here he possibly worked 
 with Salviati who painted the large fresco, ““The Supper at Cana’, (intact 
 in 1914) at the end of the room. 
 
 The palace Savelli, now Orsini, was built by Peruzzi on a mound of 
 debris in the Theatre of Marcellus and has been changed into a large apart- 
 ment house. It still has many interesting remains of the ancient theatre 
 and also some excellently carved and colored Renaissance ceilings, which 
 repay study, and seem like Peruzzi’s designs. The date of this building 
 is possibly nearly the same as that of the house by him in the Via Montserrato 
 which bears the quotation from Vergil, “Trahit Sua Quemque Voluptas’, on 
 the entrance door (Pl. 23) inasmuch as one doorway resembles the other. 
 
 Serlio says that in excavating for a house for the Massimi on this 
 site many of the details of the Theatre of Marcellus were discovered by 
 Peruzzi, from which he made out the complete plans as given in Serlio’s 
 book. 
 
 Several authorities ascribe to Peruzzi, a window and balcony of the 
 Palazzo dei Convertendi on the Borgo Nuovo just beyond the Piazza Scossa 
 Cavalli, and further along on the corner of Borgo S. Angelo, the Costa 
 Palace (Pl. 25) (see Letarouilly) which is also attributed to Raphael and 
 A. San Gallo. 
 
 The palazetto Spada (not the palace) is credited, by Burckhardt, to 
 Peruzzi (Pl. 26) and Mr. J. H. Worthington advances the new and probably 
 
Del L) awe AR Be (PE RAZ I 25 
 
 true theory that the small palace (Pl. 23) adjoining the Lante Palace, ‘on 
 the Piazza Caprettari, is by Peruzzi, as the details are exactly in his vein, 
 and like those of the Ossoli palace, with a rusticated doorway and details 
 of the ground floor windows corresponding in proportions to those of that 
 palace. As to the palace Lante itself, probably Sansovino, and not Peruzzi, 
 designed it, as Letarouilly explains, but certainly, if so, in his “Peruzzi 
 manner’, done before he went to Venice. It was built by Pope Leo X. 
 for Giuliano de Medici. 
 
 On the contrary, the Vigna di Papa Giulio (III.) on the Vial Flaminia, 
 not far from the Villa di Papa Giulio, is, as able critics assert and Mr. 
 Worthington well proves, all from Peruzzi’s plans (Pl. 27). ‘The design 
 itself must be later than that of his villa Mieli at Siena, which has the 
 plan in contour of the Farnesina and the second story pilasters of this Vigna. 
 The plan of the Vigna, brought to its present form not later than 1512, 
 is given by Letarouilly, and the details are like Peruzzi’s, especially in the 
 interior pilaster capitals and in various mouldings, and the rustication of 
 the entrance is like that of the Ossoli palace. It was begun by the uncle 
 of Pope Julius III., Cardinal Antonio Fabiano di Monte, who died in 1533. 
 
 M. Ingres, the eminent French painter confirms the assertion of earlier 
 authorities that in the Cancelleria palace the ceiling of a second story rear 
 corner room, which is barrel-vaulted with penetrations, was decorated by 
 Peruzzi with paintings of the Creation, etc. It is well given by Griiner 
 and by Letarouilly. This seems to me one of the most beautiful ceilings 
 in Italy if not in all Europe, in design, color, and detail; a work of exquisite 
 refinement, but a special permit must be obtained in order to see it, as it 
 is part of the residence of a Cardinal. 
 
 We know that Raphael’s personal work in painting or architecture 
 was confined frequently to the original sketch, its execution being often neces- 
 sarily left to others, especially at the height of his fame and success in 
 Rome, when Raimondi, so constantly spread his name by engravings of his 
 paintings, but in most of Peruzzi’s creations his personal hand is conspicuous, 
 due to the fact that he so seldom collaborated and so often carried his own 
 designs to completion. An instance of this occurred when, for a gorgeous 
 banquet given to Giuliano de Medici on September 13, 1513, on his election 
 to Roman citizenship and before he was made Commander of the Papal 
 army, Peruzzi painted one of the six historical scenes done by six eminent 
 painters.1 His was ten canne (Vasari says seven) or forty-two feet high 
 by three and one half canne wide, and represented the betrayal of the Romans 
 by Julia Tarpeia. Vasari tells us it was considered the best of the six, 
 which were shown on a stand in front of the Conservatori palace. 
 
 On March 11, 1514, Bramante died. During his last year he had had 
 the assistance of Raphael and the aged Fra Giocondo da Verona. ‘fhe 
 work of St. Peter’s was turned over to Raphael and Fra Giocondo in April 
 
 1 Vasari apparently confuses the banquet (1513) with the later ceremonies (1515). See 
 “Giuliano de’ Medici Eletto cittadino Romano etc’. by Pasqualucci—Rome, 1. 
 
26 LIE ECAN Dg ORGS? OF 
 
 after Giuliano da San Gallo had declined it and, in August, Raphael having 
 presented his design was made chief architect. It is logical to suppose 
 that Peruzzi, if not helping then in the work, at least kept informed of 
 its progress, as he was, although over modest, one who kept among men 
 and affairs of the day. [Earlier of course he must have known socially 
 Bramante, at whose table he was a frequent guest, Bramantino, Raphael, 
 ~ Michel Angelo, Pintoricchio, Beccafumi, Sebastiano del Piombo, Bazzi (or 
 Sodoma) ; and also Giovanni da Udine, Pierino del Vaga and Daniele da 
 Volterra, (three men who worked under him in the Massimi palace) ; Giuliano 
 Sangallo, Antonio Sangallo the Elder and also the Younger, Signorelli, 
 Lotto, Sansovino, Sanmicheli, Serlio, Mantegna, Caravaggio, Maturino, Sal- 
 viati, Vasari, and a host of other artists. Many other men prominent in 
 Italian social life, such as members of the Pio family, Bindo Altoviti, the 
 Massimi and many cardinals, were among his friends and clients. 
 
 It was Altoviti, whom Cellini describes as a combination. of art-lover and 
 over-keen man of affairs. He was born September 24, 1491, of a Floren- 
 tine family, became wealthy and liberal toward art, making a famous collec- 
 tion of antiques in his Roman house on the ‘Tiber only a short distance 
 from Raphael’s, at the end of the Sant’ Angelo bridge. Peruzzi as well as 
 Raphael painted his portrait. “The former’s is now in the Munich Gallery 
 No. 1052, the latter’s in the Monaco Gallery,! bought directly from the 
 Altoviti family in 1808. Altoviti died January 22, 1558, after defeat in 
 fighting against the Florentines. 
 
 With certain artists in Rome, Peruzzi associated on his own and other 
 designs and buildings. It is, however, significant, and shows the high estima- 
 tion in which he was held by clients, that both as architect and painter, he 
 was oftener busy upon his own creations than employed to assist others. 
 The most notable exceptions to this are his work as assistant to Bramante, 
 and later alone and with Antonio Sangallo the Younger, on St. Peter’s. 
 
 1 “Raphael” by Minghetti. 
 
Pein so deh PER UZ, Z I 27 
 
 CHAPTER IV 
 Rome-Carpr- lopI—1 514-1522 
 
 While in Rome in 1513 or 1514, Peruzzi designed and then made a 
 model for the Duomo of Carpi at the request of Alberto Pio da Carpi, whom 
 he met about 1510. A letter from Pio to his agent dated May oth, 1515, 
 says he is sending the model. ‘The interior of this church is imposing and 
 monumental, due to its plan (PI. 28) and proportions, which are really 
 all that can now be called Peruzzi’s. Bedford states, ““The model was still 
 preserved in the Cathedral in 1604, when Spaccini of Modena visited Carpi 
 and wrote, ‘His Highness went to the Cathedral of Carpi to see the model 
 of that church designed by Baldassare of Siena’”. Pizzoli of Carpi also 
 ‘attests the fact of its existence. “Ihe church was only partly built when 
 Alberto Pio suspended the work so that his other church of S. Niccolo might 
 be completed, and afterwards war prevented finishing the Duomo so that 
 it “remained uncompleted until 1606”. ‘There is no record of the destruc- 
 tion of the model which may yet come to light in some forgotten corner. 
 Certain details of this cathedral appear to be much later than Peruzzi’s time, 
 and the colors of the decoration are restored. It gives a fair idea, however, 
 of what Peruzzi could have done architecturally had he lived to build 
 St. Peter’s. 
 
 Carpi is an interesting town about nineteen miles north of Modena. 
 It contains even now much excellent architecture testifying to the taste of 
 Alberto Pio who was a pupil of Aldus Manutius and a patron of Ariosto. 
 The'splendid portrait of him painted by Peruzzi in 1516 is in the collection 
 of Dr. Mond, of London. In 1523 he was declared a rebel and deprived of 
 his estate by Prospero Colonna and was banished by Charles V. in 1525, 
 his house in Rome being burned in the sack of 1527. His famous effigy, a 
 reclining figure, is now in the Louvre. 
 
 There is considerable work in Carpi which suggests Peruzzi’s hand or 
 influence, and on one of the colonnades, the High Portico (Pl. 31) next 
 to the main or long “galleria”, is an archivolt moulding which is almost 
 an exact duplicate of the mouldings of one of the arches of the porch of 
 S. Michele in Bosco, at Bologna, where Peruzzi’s decided quirk on the 
 ogee moulding is found. ‘This frequent and peculiar ogee of Peruzzi’s is 
 noted by Anderson in Peruzzi’s work generally. 
 
 Semper says, in his “Carpi”, “The archivolt of the small arches on the 
 facade of ‘La Sagra’ (the old cathedral) corresponds to that of the arches 
 of the High Portico. ‘The capitals also show similar designs. But also 
 between the members of the church front and of the High Portico on the 
 
 1Tllustrated in Mintz, “Le Fin de la Renaissance’’. 
 
28 ITE E-CAWN DAHA RBar 
 
 one hand and those of the castle courtyard, on the other, there exists an 
 unmistakable relationship of profiles of mouldings, especially in the archi- 
 traves and cornices”. All of which are due to Peruzzi’s influence, if they 
 are not his actual works. “The upper story of the castle front with niches 
 between pilasters also seems characteristic of him. 
 
 The nave of the church of San Niccold (Pl. 29), a most original 
 plan in its successful alternation of domes and barrel vaults over the bays 
 of the side aisles, it is said was based on San Pietro at Modena. Campori 
 states, ‘““The authorities have recognized, in this noble and magnificent 
 church (San Niccolé at Carpi), the pure and graceful style of Baldassare 
 Peruzzi” and also that Peruzzi was probably the author of the model 
 which Alberto Pio sent from Rome in 1513 with the order that the same 
 year the third part of the church should be finished from this model, which 
 was accomplished during 1520. He also designed the new facade of La 
 Sagra (Pl. 30), or old Cathedral, in 1515, when the old front was destroyed 
 to make room for the palace encroachment. In this new facade he rey- 
 erently and harmoniously incorporated the Romanesque doorway of the 
 older church. Mr. Longfellow! notes that here Peruzzi used “‘the char- 
 acteristic motive which Palladio employed later at Venice in the churches 
 of the Redentore and San Giorgio Maggiore, which is usually considered 
 his (Palladio’s) property”. Authorities also attribute to Peruzzi the Rotonda, 
 an octagonal building erected in 1511 and taken down in the seventeenth 
 century, of which the writer can find no plan, but it may be one of the 
 Uffizi sketches herein reproduced. Campori believes that Peruzzi designed 
 the bastioned walls which Pio built around the city in 1518-20. Undoubtedly 
 the models for all the constructions in Carpi designed by Peruzzi were made 
 in Rome and sent by Alberto Pio to Carpi from 1511 to 1515, as we find no 
 record of Peruzzi’s presence in that city. Alberto Pio is said to have pre- 
 ferred him to all other architects and Cardinal Ridolfo Pio also was a 
 patron of Peruzzi’s in Rome. Carpi and its records of the Pio family may 
 yet reveal to future research further work of the Sienese architect. 
 
 Bernardo Dovizi of Bibbiena was a close friend of Isabella d’Este and 
 his letters are full of devotion to her and her interests. He was made Papal 
 Secretary at Rome at thirty-three years of age, upon the election of Leo X. 
 (Giovanni de’ Medici) and soon advanced to a cardinalship. His ‘‘well- 
 dowered” niece Maria was she whom Raphael did not wish to marry, who 
 lies buried near him in the Pantheon. When Isabella d’Este came to Rome 
 in 1514, Dovizi caused to be performed, especially for her, his comedy 
 “Calandra” taken from Plautus’s ‘“Menoechmi’. Vasari writes of this as 
 follows: ‘“When the Calandra, a drama written by the Cardinal di Bibbiena 
 was performed before Pope Leo, Baldassare prepared all the scenic arrange- 
 ments for that spectacle in a manner no less beautiful, nay rather it was 
 much more so, than he had exhibited on the occasion referred to above; 
 (i.e. banquet to Duke Giuliano de’ Medici, September 13, 1513), and his 
 
 1°The Brickbuilder’’, Boston, Mass. Vol. VI—Nov. 1897—-No. 11, 
 
eae Aa ek Ee Pe RU ZeZ I 29 
 
 labors of this kind deserve all the more praise, from the fact that these per- 
 formances at the theatre and consequently all accessories required for their 
 presentation had long been out of use, the festivals and sacred dramas having 
 taken their place. But either before or after the representation of the 
 Calandra, which was one of the first comedies seen or recited in the vulgar 
 tongue, in the time of Pope Leo X. that is to say, Baldassare painted two of 
 these scenic decorations, one of which was surprisingly beautiful, and opened 
 the way to those of similar kind which have been made in our own day. 
 In the arrangements of lights Baldassare also showed equal ability.” 
 
 That Peruzzi was chosen again for work of this kind is evidence of 
 his renown. It was a specially important event for him and for the drama, 
 since he then invented, designed and used for this play the first movable 
 scenery and its machinery employed upon the modern stage. 
 
 In the Palazzo dei Conservatori in Campodoglio, Rome, the historical 
 paintings of scenes from Roman history in the room of “the Fasti’’, and 
 of the Punic wars in “room of the Punic wars’, formerly attributed to 
 Benedetto Buonfigli of Perugia and Alessandro Botticelli of Florence, are, 
 Gustavo Frizzoni says,! by Peruzzi. ‘The hall of “the Fasti’ represents 
 the ‘Triumph of the Kings of Rome. ‘These were done about 1515. He 
 also designed, date unknown, a Triumph of a Roman Emperor now in the 
 Louvre (of a subject kindred to a sketch (Pl. 32) now in the Metro- 
 politan Museum, New York), reproduced in engraving by Marc Antonio 
 Raimondi, according to Milanesi, IV., p. 595. 
 
 In 1516, he executed his greatest decoration with figures, in the Ponzetti 
 Chapel in Santa Maria Della Pace, Rome (PI. 33), also the decorations 
 of the semi-dome above it. It was done for Fernando Ponzetti Archdeacon 
 of Sorrento and president of the Apostolic Chamber, who is represented 
 kneeling in adoration. “This was for a long period covered by another 
 painting of Santo Ubaldo painted by Baldi. In 1893, Luigi Bartolucci 
 restored this work, removing the last traces of its former covering. ‘To 
 many it is the best and most inspiring painting of its kind in Rome, and 
 some critics, going there to see Raphael’s work, have remained to admire 
 Peruzzi’s picture. Arthur Symons says of it, “I am never tired of the 
 Pace, the Church of Peace, which nestles against the Anima, the Church of 
 the Soul, in a poor central part of the city, and it is not for the Sibyls of 
 Raphael, admirable in grace of invention as they are, that I go to it, but 
 for the frescoes of Baldassare Peruzzi on the opposite wall, with their 
 gracious severity, their profound purity.” 
 
 Also he painted in this church the Presentation in The Temple (Pl. 34) 
 for Filippo Sergardi da Siena, probably of that same Sienese family who 
 were not long ago the owners of a Madonna and Child by Peruzzi. This 
 Presentation is the painting that Annibale Caracci studied and admired so 
 much, as Lanzi states in his praise of it. Caracci’s sketch of it, was in the 
 Duke of Devonshire’s collection. 
 
 1“1)i Alcuni Opere di Disegno”’ as before given. 
 
30 PEE VAS Dw e kone 
 
 Vasari, giving no date, says that Baldassare executed a very beautiful 
 facade, now destroyed, near the Piazza degli Altieri for Francesco Buzio, 
 depicting on the frieze, from life, all the cardinals then living, while on the 
 wall itself were historical scenes representing the Caesars receiving tribute 
 from all the kingdoms of the world, and above painted the twelve Emperors 
 placed on corbels; also an escutcheon supported by three boys with the a arms 
 of Pope Leo X. near the Banchi. 
 
 Also for Fra Mariano Fetti, Frate of the Piombo, he made in terretta 
 a design of San Bernardo for the garden of Monte Cavallo, and for the 
 Brotherhood of Santa Caterina of Siena in the Strada Giulia, Rome, an 
 exceedingly beautiful bier for the removal of the dead for burial. ‘This 
 is spoken of by Fabio Chigi in his ‘“Commentario di Agostino Chigi”’ (Mila- 
 nesi, LV., page 579), who also says that it was purchased during his life- 
 time by Parked Duke of Mantua. 
 
 Raphael being placed by Leo X. in charge of the theatrical production 
 of Ariosto’s “Suppositi” at the Vatican in 1519, Peruzzi supervised the 
 scene painting and probably then produced his design of Roman buildings 
 and remains which is now in the Uffizi (Pl. 35). The scene certainly sug- 
 gests this probability because on this occasion Raphael is said to have been 
 able to reproduce effectively the splendors of Rome. 
 
 At Todi, that ancient and still primitive Etruscan stronghold, the im- 
 pressive five- tonted church, Santa Maria della Consolazione (PI. 36) out- 
 side the walls, has been attributed to Bramante as his original design for 
 St. Peter’s. “This seems questionable. “The construction was begun in 1508 
 by Cola Mateuccio da Caprarola and finished by others from 1516 to 1606. 
 Milanesi says that Peruzzi was called to Todi in 1518 to consult on this 
 church and his sketches in the Uffizi show his proficiency in designs of this 
 kind, witness his design for St. Peter’s, and also that he visited Todi. 
 Moreover, the affix “da Caprarola’ suggests that Mateuccio knew, Peruzzi, 
 who certainly did work at Caprarola and had a recorded acquaintance there. 
 The Messrs. Fletcher in “A History of Architecture’, conclude that the 
 design of S. M. della Consolazione is due to Peruzzi’s influence, and a per- 
 sonal inspection of the building strengthens my belief. 
 
 In 1520 Raphael died at thirty-seven and soon afterward in the same 
 year, Agostino Chigi passed away. On August Ist, 1520, shortly after 
 Raphael’s death, Peruzzi was appointed architect of St. Peter’s. Leo decided 
 to abandon Bramante’s gigantic plan and also Raphael’s later project with 
 nave and side aisles. He therefore asked Peruzzi to restudy the problem, 
 and according to Serlio, Peruzzi made the plan (PI. 36) based on Bramante’s 
 but more beautiful and more practical. He also made a model for which 
 he was paid a total of forty-five ducats. Peruzzi never had time to carry 
 this design to completion, but the plan is roughly preserved for us by Serlio 
 in his Book III on architecture, Venice, 1549. As architect Peruzzi directed 
 the construction of St. Peter’s for nine disturbed years, 1520-27—1530-31— 
 1535-36. 
 
Bee ASS ARE PER UAZI 31 
 
 Geymiller says that Peruzzi was appointed merely as an associate of 
 Sangallo’s, but Bedford says that Geymiiller ignores ““The codex in the 
 Biblioteca Nazionale, Florence, which Aurelio Gotti published in his ‘Vita 
 di Michel Angelo’ (in the same year as Geymiller’s ‘Progetti?) in which 
 San Gallo himself says that he succeeded Peruzzi as architect-in-chief of 
 St. Peter's’. Also “Vasari clearly infers that San Gallo succeeded Peruzzi, 
 and Vasari was well acquainted with the work, as he shows the church in 
 the course of construction in 1546, in his own fresco in the Sala dei Cento 
 Giorni in the Cancelleria palace, with the choir of Peperino marble built 
 up as high as the triglyphs of the Doric order”. (Bedford Journal R. I. B. A. 
 Feb. 22, 1902.) ‘There is, in fact, now in the Barberini palace, Rome, an 
 engraving of Peruzzi’s choir made by H. Cook in 1550. Geymiller in his 
 zeal for Bramante and Raphael hardly does Peruzzi justice, yet admits that 
 from certain designs of Peruzzi’s he does not think Vasari praises him too 
 much. 
 
 Of Peruzzi’s plan for St. Peter’s, Serlio says, “In the time of Julius 
 the second there lived in Rome ‘Balthazar Petruchio’ of Siena, not only an 
 excellent painter but a very well versed and expert architect, who following 
 in the footsteps of the aforesaid Bramante, made a model in the form which 
 is shown below, and planned that the church should have four entrances, 
 placing the High Altar right in the middle of the said church. 
 
 “On the four corners he planned four sacristies and vestries upon which 
 were to be built towers for decorative effect and especially on the front 
 looking toward the heart of the city.” He follows this by giving the 
 dimensions in the ancient Roman palm (8%”). 
 
 Peruzzi’s many designs for St. Peter’s show that no one studied more 
 fully the plans for that edifice, or was more intimate with the projects and 
 construction than he, over a period of more than thirty years. Vasari states 
 in “Bramante da Urbino’, that “Peruzzi effected changes, when he con- 
 structed the chapel of the King of France in the transept which is on the 
 side toward the Campo Santo’, also in the lives of G. & A. da San Gallo 
 he speaks of Bramante “having won over Baldassare Peruzzi and Raffaello 
 da Urbino to his opinions’, etc., showing the prominence of Peruzzi as one 
 to be consulted even before Bramante’s work of construction began in 1506. 
 
 Another plan attributed to Peruzzi is here given (Pl. 43). Of this 
 Mr. Lawrence Grant White, the owner of the original, who has kindly 
 allowed its reproduction, says: 
 
 “STUDY FOR THE PLAN OF ST. PETERS, ROME? 
 
 “This drawing presumably made in 1505-1506, is reproduced (in out- 
 line only, on Plate 45) in Baron H. von Geymiller’s well-known work, 
 “Les Projets Primitifs pour la Basilique de St. Pierre a Rome”, from which 
 the following translation is an exerpt’’. 
 
 “Tt is attributed to Peruzzi. We can prove, however, that it is Bra- 
 
32 LIFE AND WORKS OF 
 
 mante’s composition, and that it was drawn for him. It is drawn, mostly 
 with the compass and ruler, on paper, at large scale and tinted with dark 
 sepia. I am indebted to the well-known architect Poletti, of Rome, for 
 having seen this plan in 1869. He kindly allowed me to make a tracing 
 Onsit ;, 
 
 “On it is written in a handwriting of a later date than the draw- 
 ing itself, the following inscription: ““Baldasar Petrucci Senese”’, then “No. 
 10. Pezzo unico. 
 
 “Tt is possible that the name of Peruzzi was added only because of the 
 great resemblance of this plan to that attributed to the latter by Serlio. 
 The spelling of “Petrucci”, which Serlio also employed for Peruzzi, seems 
 to confirm this supposition. Considering, however, the two variations of 
 the same scheme for the front of this plan which we have by Peruzzi, one 
 of which at all events, was drawn for Bramante, we can state with cer- 
 tainty that the composition of which we have just spoken is also Bramante’s’’. 
 
 How can it be denied that it is Peruzzi’s composition from Bramante’s 
 earlier plan 1505-6? If we credit the plan given by Serlio, as appreciably 
 Peruzzi’s, we must credit this also to him. Geymiller further states, without 
 giving his reasons, that it cannot be afhrmed that Peruzzi is even the 
 draughtsman! But his statement is not convincing, and the name on the 
 plan must, for the present, remain a strong proof of Peruzzi’s authorship. 
 It is included herein as valuable for later investigations which may result 
 In giving to Peruzzi’s exhaustive studies that greater appreciation which 
 so many feel is due him. 
 
 Visitors to ““The Bramante Exhibition” of April, 1914, in the Uffizi 
 saw many studies of Bramante’s for various buildings, and one of Peruzzi’s 
 for St. Peter’s “under Bramante’. Many other sketches in the Uffizi 
 (Pl. 37, 38, 39, etc.) made by Peruzzi, show clearly the gradual growth 
 of his personal ideas for the superb plan (PI. 36) which he finally made. © 
 In its strength and beauty this was not surpassed by Bramante’s on which 
 it is evidently based. It has a mere suggestion of the arrangement, grandeur, 
 simplicity and richness in detail, of Santa Sophia, Constantinople, but ex- 
 pressed by a designer who knew how to group his masses and to distribute 
 and resist the thrusts of a great dome better than did Anthemius of ‘Tralles 
 and Isodorus of Miletus, the architects of Santa Sophia, which once threat- 
 ened to collapse and recently has again given cause for anxiety. ‘This plan 
 of Peruzzi’s has inspired many a later architect by its perfect harmony and 
 proportion of parts and especially its superb constructive expression. Juan 
 Bautista de Toledo adopted it for his plan of the Escorial. (See ‘‘Spanish 
 Architecture of the XVI Century”, Bayne & Tapley, page 424.) Also in 
 the original competitive design for St. John the Divine, New York, a some- 
 what similar treatment in the rounded ends of the apse and transepts occurs. 
 
 Peruzzi, as stated, personally spent a considerable part of nine years’ 
 time on St. Peter’s, correcting its first faults, and completed the south tran- 
 sept, says Vasari. It must have been hard and discouraging work with all 
 
eee ao w Ae eh ee ROO ZZ I 33 
 
 the interruptions. He also, when Clement VII. became Pope on November 
 19, 1523, made preparations for the coronation, and, using Peperino marble, 
 completed the facade of the principal chapel, begun by Bramante. In the 
 chapel containing the bronze monument of Pope Sixtus, Peruzzi painted later 
 (probably in 1524) the Apostles in chiaroscuro, only the St. Peter now being 
 saved in the present crypt, the “grotte scure’ of the Vatican, according to 
 Milanesi, Vol. IV, p. 601. He also designed the tabernacle for the Sacra- 
 ment in that chapel, which Bernini’s design now replaces. 
 
 A plan for St. Peter’s by an unidentified hand but in Peruzzi’s manner 
 (Pl. 43), is here given, which though suggesting the design which Michel 
 Angelo built, yet has lettering strongly like that of Peruzzi, especially in 
 the ““P” similar to one on his drawing for the plan for the Massimo palace 
 and at the rear door thereof, and like the “P” in a circle on the right hand 
 and lower side of a drawing by Peruzzi, Plate 20, Geymiller’s “St. Pierre” ; 
 also the figures “4” and ‘“‘g” and letter “1” are much like Peruzzi’s. Pos- 
 sibly, though not probably, it is the lettering of Antonio da Sangallo the 
 Younger who succeeded Peruzzi on St. Peter’s, but it is surely not the 
 hand of Michel Angelo. It is a very interesting question as to who designed 
 this plan. Future research may find the solution. ‘The actual size of the 
 entire drawing proper is 209” x 27 9/16” with lines in sepia and walls 
 washed in with what is now a beautiful faint purple tint. ‘This also comes 
 from Mr. White’s collection and was found in Rome. Could it be Peruzzi’s 
 study, suggesting the form which Michel Angelo finally adopted? It seems 
 to the writer hardly possible. 
 
34 LIE Ea IN Daag BS ON 
 
 CHAPTER’ V 
 BoOLOGNA—1522 
 
 Although there is no record of it, Peruzzi probably was in Siena several 
 times between 1503 and 1522. Otherwise it is difficult to explain how he 
 accomplished so much work there in the years intervening. Also Vasari’s 
 statement that he was ‘“‘almost compelled to return (from Bologna) to 
 Siena” to fortify the city, strongly indicates that he was in Siena when in 
 1521-2 he was asked to go to Bologna. ‘This invitation came from the 
 wardens of works of the church of San Petronio and he accepted it for the 
 purpose of competing for the alterations of that great church. Undoubtedly 
 his fame as architect of St. Peter’s, of the duomo at Carpi, etc:, had pre- 
 ceded him. 
 
 His resources were still slender but fortunately he was the guest of 
 Count Giovanni Battista Bentivogli, a prominent citizen, and was also 
 befriended by Signor Panfilio dal Monte and others during his stay. In 
 the sacristy of San Petronio are still preserved several of his designs for that 
 church, made at this time in Bentivogli’s house, according to Vasari, one 
 showing a free use of Gothic architecture. 
 
 He also made among others a classic design, but the most noteworthy 
 drawing exhibited there now is the longitudinal section showing a noble 
 dome, cupola and nave most ably drawn both as to construction and detail, 
 but yellow with age and hence difficult to photograph. Gaye states that 
 he designed still others, and Stegman and Von Geymiller give a reproduc- 
 tion of Peruzzi’s drawing for a detail of the front, which after having 
 been long lost came into the possession, in 1884-5, of the French art dealer 
 Thibeaudeau in London. It is a rich design elaborately detailed (Pl. 44). 
 Although his work was highly praised by many men, including Erede Secca- 
 dinari, the architect, the reconstruction of this church was never carried out. 
 
 It is well worth visiting the Sacristy to see how clearly Peruzzi outshone 
 his competitors in the drawings which are hung along with his, and yet he 
 apparently received, on July 12, 1522, only eighteen /Jire, although it is likely 
 that this was merely for some small part of his work. ‘The weakness of 
 the old building seems to have been the chief reason for abandoning the 
 contemplated alterations. 
 
 In considering his other works in Bologna we must remember that — 
 Peruzzi was there but a short time and that he personally saw little if any 
 of the work from his designs carried to completion. In the church of San 
 Domenico, the Chapel Ghisilardi, a fine brick construction at the left of 
 the front, is his work (PI. 38). A sketch plan in the Uffizi also suggests 
 this. ‘There are traces of his design in the church of Madonna di Galliera, 
 especially the small door on left of the front (Pl. 46). 
 
Pela AE PERU ALI 35 
 
 In the church of San Procolo, in a little niche closed by a door and 
 under the organ, is a small colored bas-relief of the Adoration of the Magi, 
 attributed to Peruzzi. 
 
 I] Lamo states that he designed the great Albergati palace (Pl. 47). 
 This is an almost overpowering front reminiscent of ancient Roman splendor, 
 so grand is its scale and so simple its lines, as you come suddenly on it after 
 winding through Bologna’s colonnaded streets. It was never completed, but 
 the present main entrance was to have been on the centre line of the front 
 which gives one a good idea of the noble proportions of the entire facade, 
 built of brick, terra cotta and marble. Anderson! gives this building unstinted 
 praise, as do many authors. Mr. J. H. Worthington is inclined to think, 
 from evidence which he presents, that it was due to Peruzzi but continued 
 by Serlio and finished by others from 1540 to 1581; arguing also that the 
 details are more clumsy than Peruzzi would have drawn. After careful 
 study the writer feels that, while there may be some points to criticize, Peruzzi 
 would purposely have avoided great refinement of members in a building 
 so massive, so Roman in proportion and general style. ‘The lower windows 
 especially are singularly like those by Peruzzi in the Villa Mieli, Siena. It 
 is, at all events one of the great designs of the Renaissance. Certainly no 
 palace in Bologna and few in Italy surpass it in conception. Had the entire 
 front been completed as intended with its single central doorway, thus elimi- 
 nating the smaller door to the right, it would have emphasized the noble lines, 
 and been a masterpiece of proportion. 
 
 The courtyard of the Cornelio Lambertini palace, or Lambrino, as 
 Peruzzi lettered it on his sketch, afterward a part of the ancient Albergo 
 del Commercio in Via Degli Orefici, is stated by Malaguzzi Valeri,? a 
 cautious critic, to be an undoubted work of this master, and his plan is in the 
 Uffizi collection. ‘The last remnants of this courtyard, Doric columns, etc., 
 have now been torn down unappreciatively, to make room for a public 
 building. “The remnant consisted, according to Malaguzzi, of the follow- 
 ing: “A side opposite the entrance with high Doric columns ornamented 
 with a band of rosettes around the capital. . . . “The loggia above is 
 modern”. i 
 
 The courtyard of the Boncompagni (later Benelli) palace, finished in 
 1543-4 is also believed to show Peruzzi’s influence. ‘The circle and diamond 
 ornament on the second story window recalls the same design used horizontally 
 on the front of Peruzzi’s palace in the Via Giulia, Rome. ‘The entrance 
 door of this Boncompagni palace is also possibly due to him (PI. 48). The 
 rear of the palace bears a tablet on the street wall with incised lettering 
 showing the date of actual completion to be 1543. 
 
 The Palazzo Fioresi (Pl. 49), formerly Monari, in Via Galliera, built 
 for Messer Panfilio dal Monte, is in spite of its attenuated columns, believed 
 
 1“The Architecture of the Italian Renaissance”. sore : 
 *“T’ Architettura a Bologna del Rinascimento, Rocca San Casciano. Lincino Capelli 1899. 
 
 Lavoro del Conte Fr. Malaguzzi Valeri’. 
 
 . 
 
36 Eel EAN DECOR a ths 
 
 by Il Lamo to be a design by Peruzzi; also a design of Peruzzi’s from Mr. 
 Lawrence Grant White’s collection probably is a first study for this or a 
 similar palace front so closely do certain details of the sketch correspond to 
 those of this palace. 
 
 Peruzzi has been credited with having designed the large window in 
 the exterior wall of the ground floor of the Palazzo Pubblico (Pl. 50), 
 as well as a doorway, strongly Peruzzian (Pl. 50), of refined character in 
 the loggiato. ‘This is reached, on entering the great courtyard from the 
 piazza, by walking immediately under the Joggiato to the right and then to 
 the left to the centre line of the courtyard. 
 
 It was during his Bologna work that he designed for his friend Count 
 Giovanni Battista Bentivogli, in 1522, the picture, Adoration of the Magi, 
 containing portraits of the Magi, of Titian, Michel Angelo and Raphael, 
 which was engraved by Agostino Caracci in 1579. “This design and a copy 
 in oil on wood, which may have been done by Girolamo da Trevigi, 1521-22, 
 although that was said to have been lost in a shipwreck, are now in the 
 National Gallery, London, the copy having been presented by Lord Vernon 
 in 1839. Of the first one Bartolommeo Cesi also made a copy which was 
 once in possession of the Rizzardi family in Bologna. Wadagen states that 
 ‘Trevigi’s copy is not the one in the National Gallery but that this is by some 
 Ferrarese artist, “equalling Rinaldo of Mantua”’.! ‘The Escorial too has a 
 reddish copy on wood in Peruzzi’s manner, with the Colosseum, pillars, tem- 
 ples, and a marble Caesar on a pedestal in the distance. 
 
 In “Fac-Similes of Original Studies by Raphael’ in the University 
 Galleries at Oxford, etched by Jos. Fisher (London Bell & Daldy 1872), 
 there is a reduced reproduction in plate 18 of a drawing of another Adora- 
 tion of the Magi, which is therein attributed to Raphael, but is distinctively 
 in Peruzzi’s manner and closely like the one in the collection of Prince 
 Hohenzollern of Sigmaringen, made for the tapestry now in the Vatican. 
 The facial expression, the details of garments, folds, dresses, general com- 
 position and accessories mark it as the work of the Sienese master. 
 
 For the church of San Michele in Bosco, belonging to the monks of 
 Monte Oliveto, situated on a hill near Bologna, Peruzzi designed in 1522-3 
 the famous beautiful marble doorway (PI. 51). ‘This shows such decided 
 refinement as to have given rise to the wish in Mr. Worthington’s mind 
 that he had left the frieze plain, but, as it stands, it is so nearly perfect in 
 proportions and so refined in detail, that the doorway to the Pietro Massimo 
 palace in Rome, is the only design of his with which we can compare it, 
 and there are no equally simple and beautiful Renaissance doorways designed 
 by any of his contemporaries or pupils. In these two doorways especially 
 we see indisputable evidence of the thorough training of Peruzzi in archi- 
 tectural detail, for although the actual work of the San Michele one was 
 executed by Bernardino di Milano and Giacomo da Ferrara, the very out- 
 lines, mouldings and ornament are full of the architect’s personal thought 
 
 1 “Treasures”, p. 236, Vol. VII, by Waagen—See also Crowe & Cavalcaselle. 
 
ees AK EO Pek RU FeLi 37 
 
 and care. “Lhe corbels show a classic ornamentation like that on the cornice 
 corbels of his Pollini palace and other buildings at Siena, as Mr. Worthing- 
 ton noted. 
 
 The polygonal courtyard of San Michele shows a use of the so-called 
 “Palladian motive” which Peruzzi uses in the palace on Via Giulia, Rome. 
 The proportions of this motive if not the smaller details of columns and 
 mouldings of this San Michele court also are in Peruzzi’s manner. Upon 
 the church entrance porch occurs a certain quirked moulding, i.e., the ogee 
 of the moulding of the archivolt already alluded to as occurring also at Carpi. 
 
 Lanzi speaks of Peruzzi’s “highly facetious” grotesques done here at 
 Monte Oliveto. The ornamented interior pilasters of the apse of the church 
 of San Michele also strongly suggest Baldassare’s work in the apse of the 
 Duomo at Siena. ; 
 
 In Mr. Lawrence Grant White’s collection is an excellent drawing by 
 Peruzzi probably for a portico or colonnade in Bologna. It is a valuable 
 illustration of the great beauty and precision of his line drawing. 
 
 After Leo X. died, Adrian VI. De Del of Utrecht, the Flemish Pope, 
 was elected in 1522 for the short balance of his life, since in 1523 he too 
 passed away and Giulio de’ Medici, as Clement VII. then became Pope. 
 
38 LIFE AND WORKS OF 
 
 CHAPTER VI 
 SIENA—1507-1523—-VITERBO—F ERENTO 
 
 It is well here to glance back and mention more of the works which 
 were done by Peruzzi in Siena possibly during his visits at widely separated 
 intervals after he first went to Rome and until he came back from Bologna 
 in 1522-3. In Siena the excellent building of Santa Martha, now the Siena 
 Orphan Asylum, Romagnoli attributes to Peruzzi’s design of 1507 but Della 
 Valle (Vol. III) in “Lettere Senese” etc., says that a pupil of Peruzzi, 
 Di Lari (Il Tozzo), built it in 1535. Even if so this would hardly deprive 
 Baldassare of all credit, yet it is so like his work that there seems to be 
 strong probability that he was closely connected with its design. During 
 all his life he seems to have had the confidence and respect of the best citizens — 
 of Siena and there is proof of his affiliation with the Brothers of San Dome- 
 nico, in that he made for them several meritorious designs for the reconstruc- 
 tion of their barn-like church and by their attorney a loan was made to him. 
 
 Five and a half miles outside of Siena, at Sant’Ansano-a-Défana, he 
 designed and built of brick, in 1508, the simple and substantial Martirio di 
 San Anselmo which is still standing and contains the painting of a Madonna 
 which was exhibited in Siena not long ago. 
 
 Before the year 1512 and probably when ambitious Pandolfo Petrucci 
 became undisputed master of Siena, he asked Peruzzi to design a “porticato”’ 
 or arcaded portico around the Campo (now the Piazza Vittorio Emanuele) 
 opposite the Palazzo Pubblico. Petrucci died at San Quirico in 1512 and 
 the design was never executed, but the idea was revived in 1547 and again 
 abandoned. A rough drawing by Pomarelli from Peruzzi’s design, and now 
 in the Opera del Duomo, is impressive although too small to convey clearly 
 what effect the structure would have had in the intended location. Mon- 
 dolfo in “Pandolfo Petrucci” speaks of this design for the “porticato” and 
 others have praised it. 
 
 Venturi in his brochure, ““The Farnesina’”’, where he states that Peruzzi 
 worked much for the Chigi family, says that he painted, in a portrait of 
 the Virgin, the likeness of Petrucci’s daughter Sulpizia, whom Cellini called 
 “Porzia’. She was the wife of Sigismondo Chigi for whom Peruzzi built 
 the Villa Chigi-Mieli. Vasari speaks of her as a woman gentle in every 
 way and Peruzzi named one of his daughters Sulpizia. 
 
 Not far beyond the villa Mieli, near the villa Nerucci, is the charming 
 “Podra (Podere) delle Loggie’, or farmhouse with the loggias, called 
 “T?Apparita” (Pl. 1). Peruzzi’s portion of the design is a red brick con- 
 struction on the end of this farmhouse, although he may have done more 
 not now evident. ‘The date is unknown, but it is a fairly early work of 
 
ba Ee DASS ARE PER ULZI 39 
 
 merit which deserves preservation in a scale drawing by some architectural 
 scholar. ‘Tradition ascribes it to Peruzzi as does A. Ricci also, in “‘Storia 
 dell’ Architettura Italiana’, and this is probably correct as he seems to have 
 had professional relations with the Nerucci family (near whose villa it is) 
 in designing for them a ceiling in their Siena palace, which was planned by 
 his master, Francesco di Giorgio. ‘This is now the Banca d’Italia of Siena. 
 
 At Cerreto-Ciampoli, five miles south of Siena, he built a gateway, 
 according to Della Valle (in “Lettere Senese’”’) and a chapel with a Nativity 
 showing the Saints, Bernard, John the Baptist and Jerome, and above -the 
 arch The Eternal Father; also he painted here two doors in the Casa di 
 pn. 
 
 The Boston (Mass.) Museum of Fine Arts has in storage two small 
 painted doors showing the Saints, Rocco, Sebastian, Christopher and An- 
 thony, all, according to Berenson, Peruzzian in character, which careful 
 examination leads me to think are the ones referred to above. ‘They are 
 owned by Professor Whittemore. 
 
 There is a ceiling called Peruzzi’s (Pl. 52) of unknown but early date 
 in the hospital of S. M. Della Scala opposite the Duomo, Siena, and in the 
 church of this hospital his well known carved and painted organ front, which 
 as it suggests the idea of the large windows in the Albergati palace, may have 
 been done in 1522. Mr. Hill! however, says “about 1510” and gives no 
 authority. ‘This still adorns the wall, is often photographed and a very 
 successful treatment of a difficult subject, decorated in dull blue, gold and 
 red, the latter sparingly used, and still one of the best organ designs extant. 
 Mr. Hill credits him also with that in the Duomo (Pl. 53) and also that 
 in the Palazzo Pubblico. Burckhardt says that the two Barili in 1511 
 executed an organ case, in the Duomo, inspired by Peruzzi, which probably 
 means that Peruzzi was its designer. “he organ in the Palazzo Pubblico, 
 he adds, is by Antonio Pifferio, date 1519, but it has an air of simplicity 
 which suggests at least Peruzzi’s restraining influence, although he was much, 
 if not continually, in Rome at that period. 
 
 A simple little chapel by Peruzzi (Pl. 54) stands just outside the Porta 
 Camollia near which was the post-house where Cellini says he killed its 
 master. It is praised by Bedford for its admirable use of brick, with a well 
 designed corner in moulded brick and tile, also “stone capitals and corners 
 to the pediment where cornice joins it”. “The small openings above the arch 
 and other details seem rather early and lead me to date it about 1512. 
 
 The Diavoli or ‘Turchi palace (Pl. 83), further out on the road from 
 the Camollia gate, is attributed by many critics to Peruzzi. . The cornice 
 of its chapel (credited also to Federighi) is in detail surely like that on 
 Peruzzi’s Mocenni and Pollini palaces. ‘This chapel, at the end toward the 
 town, is a beautiful piece of brick and terra cotta construction, with a fine 
 frieze. On the way out to the Villa Santa Colomba beyond the Piano del 
 Lago (or plain of the ancient lake) there is, on the opposite hill, a construc- 
 
 1“Organ Cases’ by Arthur George Hill, F.S.A. London 1883. 
 
40 LIFEXAND WORKS OF 
 
 tion which recalls in shape this tower and end of the Diavoli or Turchi 
 palace, and invites exploration and study, for if Peruzzi designed the Diavoli 
 he probably did this. Bedford also mentions a church tower with a top like 
 that of the Carmine, between S. Colomba and Celsa villas which, he was 
 convinced, Peruzzi designed. 
 
 The Mocenni, or Francesconi palace (Pl. 55) in Via Cavour near the 
 Lizza, built in 1520 for Bernardino Bellanti, is altered but still retains fine 
 proportions and details, besides three paintings of the story of Jonah, which 
 mark it plainly as Peruzzi’s and his plan for it is in the Uffizi. Romagnoli 
 mentions the paintings herein, and also three in the house of a Signor Selvi, 
 as Peruzzi’s. ‘The cornice of the Mocenni has terracotta details similar to 
 those of the Pollini palace and Turchi chapel. He also probably designed 
 the following: the court and an entrance and certain other doors of St. 
 Catherine’s house (Pl. 56) of which the court columns are rather slender 
 like his Fioresi palace, Bologna, and “like his early Roman. work’’; the house 
 No. 24 Via Baldassare Peruzzi (Pl. 57) refined and effective even in its 
 present unfinished state; also the cloister of San Martino (Pl. 58 and Pl. 20) 
 of which the two studies for the church itself are now in the Uffizi; the 
 marble seat in the Loggia di Mercanzi (Pl. 59). 
 
 In descending Via S. Agata from the Piazza Giordano Bruno one comes 
 abruptly upon the church of San Guiseppe, built by Peruzzi in 1522 to 
 1531, with a front by Giovanelli. ‘This is a very picturesquely treated 
 church (Pl. 60) which piles up imposingly above a valley on the outskirts 
 of the city. The plan is in the form of a Greek cross, or a 36 ft. octagon with 
 arms of moderate length, Peruzzi’s favorite plan, with a balcony outside 
 between the arms of the cross where the view is finest. Lazzeri alone 
 credits the building to Pietro Caetano, a scholar of Peruzzi’s, and to Bartho- 
 lomeo Nerone and Maestro Riccio, with Baldassare Giusti as clerk of the 
 works. 
 
 Every architect will realize that Peruzzi could easily have designed ~ 
 work for Siena while in Rome. It is hardly possible, nor was it necessary, 
 to personally inspect every site until actual building began and sometimes 
 not then. We know that many of the largest constructions were done from 
 models, as at Carpi, and clients in those days of slow travel and communica- 
 tion would hardly have expected that a design would always be made in 
 the place where it was to be executed. 
 
 Among neighboring villas, the interior of the Saracini, parts of the 
 nore distant villas Santa Colomba (Pl. 61) and Celsa (PI. 62) are all 
 considerably by Peruzzi. ‘To these must be added the villa of a Signor 
 Lodole at S. Regina in the suburbs of Siena, near the Porta Pispina. It 
 is impossible to give the exact dates of any of these. At Santa Colomba is a 
 very well designed circular stone staircase by him, and the building, although 
 clumsily altered, is in a free and gay vein. Here are evidently his designs 
 in the front and in certain doorways, also in the narrow back court and 
 rear garden wall. He used rusticated columns in the front of this villa 
 
Dee ean Ss aoe ee RAG Z: Zul AI 
 
 suggesting those in the fresco, ““The Presentation in the Temple,” at S. M. 
 Della Pace, Rome, and also roughly indicated in his Siena sketch book. ‘The 
 romantic villa Celsa lies about eleven miles west of the Porta Camollia 
 and a few miles beyond villa Santa Colomba and was the home of Mino 
 Celsi—one of Luther’s champions—early in the XVI century. It is in part 
 Gothic, but there are early Renaissance features of Peruzzian character in 
 the exterior chapel (Pl. 46), in the front wall of the court (Pl. 45) and 
 in the interior of the main building. Strikingly placed with beautiful views 
 from the tall towers which guard its wedge-shaped court, it has recently 
 been well restored by Prof. Mariani of Siena. 
 
 The villa Vicobello too (Pl. 17) was built by Peruzzi for the Chigi 
 family, and is well known to students for its charming architecture and 
 lovely upper and lower gardens. Superbly situated on the hill opposite 
 Siena it is a design of noticeably modern character in which Peruzzi relieved 
 plain walls by flat panels. At the end of a garden walk on the same terrace 
 as the house, is a famous wall niche,! and in the court a fine well top 
 (Pl. 45). PP. della Valle speaks of a painting, Deeds of Moses, by Peruzzi 
 in “Casino Chigi near the Osservanza”, which undoubtedly refers to this villa. 
 
 When in 1522-3 he returned from his Bologna work to Siena, at the 
 urgent request of the authorities, the master must have been very busy both 
 in public and private capacity. It is logical to believe that besides private 
 commissions he designed at once some portion of the fortifications of the 
 city, since the necessity for their immediate improvement was what brought 
 him back. In fact he built, according to some writers between 1523-27 and 
 according to others between 1527-29, parts of the city walls, including seven 
 towers or gateways, of which those called Camollia (Pl. 46), Pispina, Late- 
 rina and San Prospero still remain. 
 
 Siena many times saw her fortifications restored and increased but 
 Peruzzi’s work impresses one more than that of any other engineer employed 
 thereon. A huge, ingenious and imposing bastion outside the Porta Pispina 
 is still called his, but far more impressive is the beautiful and stately 
 Comollia gateway. 
 
 At Viterbo, Della Valle credits him with doing considerable work, at 
 some period not determined, including the church of San Giovanni Codetre- 
 moli and other designs; Bedford and others speak of the Panteone di Pontre- 
 moli as Peruzzi’s, and at the Ponte Tremoli (Bridge of the Three Mills) 
 in Viterbo, there is now an octagonal baptistry to be seen, called Santa 
 Elizabetta or S. M. della Peste (Pl. 63) which is strikingly in his manner 
 and probably the building referred to by the above writers. “The external 
 angle pilasters and the capitals with reeded channellings, the Latin motto 
 of the frieze, the little cupola on top, are much like his work, but the interior 
 mosaic of the floor is possibly an earlier relic which he incorporated. At 
 neighboring Ferento (or Ferentum) he designed and, Vasari says, built, two 
 
 “The Art of Garden Design in Italy’, Inigo Triggs. 
 
 ee 4 ‘athe’ A Villas and Their Gardens’, Edith Wharton. 
 ee 
 “The Old Gardens of Italy”, Mrs. A. Le Blond. 
 
42 DEE E AND HORS. “OF 
 
 villas for the Orsini “on the road to Viterbo” and planned other buildings 
 “to be constructed in Apulia’. All the above were probably designed at 
 intervals after 1510. His fine plan for Conte Pitigliano’s palace on the 
 ruins of the Baths of Agrippa behind the Pantheon, Rome, was never executed 
 (Pl. 64), but the Altemps palace, Rome, was largely his and the courtyard 
 design as well as the exterior (Pl. 65) both reveal his hand. 
 
Weed yA PE Re 77 43 
 
 CHAPTER VII 
 ROME—FERRARA— I 523-27—SIENA—I 527-30 
 
 It is quite likely that before the year 1524 Peruzzi was back in Rome, 
 if the house there, in the Strada di Chiavari at the piazza dei Satiri, is 
 properly ascribed to him as of the year 1523. It once belonged to the 
 church of S. Carlo dei Catenari and was formerly the house of Cassiano del 
 Pozzo, a noted antiquarian, friend and patron of Gaspard Poussin. ‘This 
 house has a very well designed courtyard with some ancient bas-reliefs built 
 into its walls, also a fine staircase, and was two stories high. It is shown 
 in Percier et Fontaine’s, “Maisons et Palais de Rome”, and still better by 
 Letarouilly, but has been altered and the front is now hard to identify. It 
 was probably of the same date as the house, ‘Piccolo palazzo Altieri’ No. 
 XI Via Delfini, where one finds on the right of the entrance driveway its 
 tiny, but attractive Peruzzian court with a beautiful second story loggia 
 on the left side thereof. “This has three arches on columns, and ceiling 
 vaults finely decorated with arabesques of a Pompeliian character, now fading 
 away. (See Letarouilly and also Griiner.)1 
 
 In 1525 Peruzzi designed the simple casino at Salone on the road to 
 Tivoli, about seven and a half miles from Rome. “This was for Cardinal 
 Antonio Trivulzi, a good friend at court, who made peace for him with 
 Pope Clement VII. after 1529, when Peruzzi had refused to help actively 
 the Papal army besieging Florence. The casino is now a long red _ brick 
 farmhouse, easily seen from the railway train, with a central arched door, 
 and a loggia at one end, and still contains some frescoes possibly by Giov. 
 Maria Falconetto, and Daniele da Volterra, a pupil of Peruzzi’s. 
 
 ‘This is all that remains of the design shown in his charming Uffizi 
 sketch for a villa and an oval garden on the “fiume (river) Salone”, which 
 if built as he designed it, including the delightful and original garden, per- 
 golas, bowers, etc., must have been once very beautiful (Pl. 17). ‘The river 
 has sadly diminished. 
 
 In connection with this design it is to be noted that Vasari, in his life 
 of “Daniello di Volterra,” says that Cardinal Trivulzi “conceived a great 
 liking for Daniello (Ricciarelli di Volterra) whom he dispatched to one of 
 his dwellings, a large building called the Salone or “Casale” which he had 
 erected outside of Rome and which he was then causing to be decorated 
 with stucco works, fountains and pictures by Giovanni di Milano and 
 other artists, who were employed there at precisely that moment’. Here 
 Daniello worked busily on large and small figures and ornament. 
 
 After Baldassare returned from Bologna and Siena he designed a palace 
 
 1*Kresco Tecorations etc. In Italy”. 
 
A4 LTS SA NSD SA eas a) ae 
 
 on the piazza of the Farnese, and a Doric doorway in the palace of Fran- 
 cesco da Norcia. 
 
 It is hardly possible that his active mind was not otherwise employed 
 during this time and probably a considerable number of those necessary but 
 practically unknown and imglorious repairs which he made on St. Peter’s 
 were continually in progress and took much of his time and strength. 
 
 Just when he was in Ferrara cannot now be determined. Jacopo 
 Melighino of Ferrara was a friend of his in Rome, and through him he 
 may have received the commission to design the now unfinished Castelli, 
 Sacrati or de’ Leoni (later the Prosperi) palace, and its famous marble 
 doorway (PI. 18). While the latter lacks Peruzzi’s refinement in some 
 ways it resembles the Boncompagni doorway at Bologna, and shows great 
 originality and spirit. 
 
 The entire palace and door, probably brought to their present state 
 in 1527, are attributed to him by Lanzi, Della Valle and others. Venturi 
 alone disputes this and ascribes the doorway design to Ercole Grandi of 
 
 Ferrara. 
 
 In 1527 came the terrible sack of Rome by the combined German and 
 Spanish armies under the Constable de -Bourbon, whom, while wearing a 
 white cloak, Benvenuto Cellini claims to have shot from the walls of the 
 Castle of St. Angelo during the siege. ‘The sack is best described in Grimm’s 
 “Life of Michel Angelo”, which tells in detail of both the brutal fanatic 
 cruelty of the German Lutherans and the greater ferocity of the catholic 
 Spaniards. Religious belief as usual restrained neither party; they called 
 the Pope Anti-Christ and considered Rome a sink of iniquity and there- 
 fore legitimate spoil. Peruzzi was made prisoner, lost all his property and, 
 being taken for a high dignitary or a noble, was held for ransom. He 
 however, obtained his release by painting the portrait of the dead Bourbon 
 and by the Sienese: advancing the amount of the ransom. He escaped and 
 took ship to Port’ Ercole where he may have taken notes of local conditions 
 for the casemates which he designed later. Finally he reached Siena destitute, 
 “clad only in his shirt”. What became of his “brother” Pietro we have no 
 record. Disconsolate and impoverished Peruzzi met with immediate kind- 
 ness at the hands of his fellow citizens, who must have not only relieved 
 his immediate needs but replaced them with honors, for he was made ‘‘Archi- 
 tetto del Pubblico” from 1527-9, receiving five scudi or crowns per month 
 salary. 
 
 The simplest, finest and most famous palace in Siena by Peruzzi is the 
 Pollini, Pellinit (or Celsi) which is justly praised by critics as one of the 
 best in Italy (Pl. 66-67). ‘This he probably designed in 1527-30, or earlier, 
 as the battering wall of the basement and the torus mouldings follow the 
 idea of his city walls and bastions done from 1523 to 1529. “The palace 
 contains three interior ceiling frescoes: ‘The Continence of Scipio, with border 
 design like those of his mosaics at $. Croce in Gerusalemme (Rome), The 
 Adoration of the Magi, and the Story of Susanna and the Elders. ‘The 
 
pret A SSA RT ERE ZT 45 
 
 rooms inside have vaulted ceilings in the main story indicated externally 
 by the great height of wall above the tops of its windows. ‘This palace was 
 once owned by the Celsa family, probably the same who owned the villa 
 Celsa near Siena. Mr. Kilham (in Vol. III, Brickbuilder) shows that the 
 basement wall slopes inward two feet in thirteen feet seven inches of height. 
 It also runs effectively along to retain the raised garden at the left, at the 
 rear of which are picturesque loggias. Entirely without an architectural 
 order as it is, the use of an order could not have given this palace better 
 proportions, better disposed solids and voids, or more generally logical treat- 
 ment for its purpose. ‘There is a satisfaction in studying the entire building 
 like that gained from the painting of a figure which reveals, altho’ draped, 
 the painter’s full knowledge of proportion and anatomy. 
 
 As soon as affairs became more settled he evidently returned to Rome 
 for at least a short time, because in the ‘“‘Letters of Sebastiano del Piombo 
 to Michel Angelo” published by Milanesi, we find that on the 28th of 
 January, 1528, Sebastiano wrote to Michel Angelo as to the valuation of 
 certain work which he had just done, “not trusting to myself I wished to . 
 take the opinion of several others and above all of master Balthazar de 
 -Sienne. I send you his estimate and counsel for he appears to me to be 
 a good man and just’. 
 
 Gaye in his “Carteggio” reprints a document showing that on Sep- 
 tember 16th, 1528, Peruzzi bought the simple house, which is still in good 
 condition, in Via Camollia, 48 (Pl. 57) “‘opposite the church (of S. Pietro) 
 Magione’. ‘The purchase money was lent to him by the Brothers of San 
 Domenico. On this house an incised marble tablet now reads as follows: 
 (Translation ) 
 
 risa @ sl 
 WAS OWNED AND INHABITED 
 BY BALDASSARE PERUZZI 
 SIENESE PAINTER AND ARCHITECT 
 CELEBRATED AND SINGULARLY UNFORTUNATE 
 WHO BY SUBLIME WORKS 
 LEFT IMMORTAL FAME 
 
 It would be hard to compose in so few words a memorial more ex- 
 pressive of the sympathy and homage of his fellow townsmen, or one more 
 appropriate to his simple, straightforward character. 
 
 The date of Peruzzi’s marriage to Lucrezia d’Antonio del Materasso 
 is not known, but they had in all six children, two of whom were born 
 after his escape from the horrors of the looting of Rome and it is reasonable 
 to infer that he may have married at about the time he bought his house 
 or shortly after, when his financial affairs began to improve. In all proba- 
 
46 LIFE CANDY OR LS OF 
 
 bility this purchase and perhaps also his public work, brought him to Siena, 
 inasmuch as his presence is proved by the records. If we accept most of’ 
 the authorities as to dates he must have been constantly going and coming 
 between his home and the Eternal City for the next few years. 
 
 He painted his last mural picture in Siena proper in 1528, the famous, 
 Sibyl Foretelling to the Emperor Augustus the Birth of Christ, in the church 
 of Fontegiusta. This is a freely restored but impressive work of considerable 
 beauty in which Michel Angelo’s influence is traced by some critics. Lanzi 
 says of it, “the painter gave it so divine an enthusiasm that Raphael, as 
 well as Guido and Guercino, treating the same subject never surpassed it.’ 
 It is too well known to reproduce herein. 
 
 A sketch for this is in Peruzzi’s sketchbook in the Siena Library while 
 another (Pl. 68) (found by the writer) in the Metropolitan Museum, New 
 York, from the Vanderbilt collection, was unknown to writers and is prob- 
 ably a study for another painting of the same subject, mentioned by Della 
 Valle as once being opposite the church of San Salvatore in Lauro, Rome. 
 
 In Documenti per la Storia dell’ Arte Senese XVI. Secolo, (Siena, 
 1854-6) reprinted by Gaetano Milanesi, it appears that a certain Girolamo 
 d’Angelo Menichelli, a mason, ‘‘had lent” him (Peruzzi) 155 gold scudi 
 to pay the balance of his debt for his ransom paid by Siena to Bourbon’s 
 soldiers, and Peruzzi acknowledged the receipt thereof from him on Septem- 
 ber 18, 1528. 
 
 He soon became architecturally busy again in his native city, as the 
 Sienese records of 1521-29 show, and designed in 1527-29 the oratory “della 
 Selva”, for the Guild of the Weavers. 
 
 In November, 1528, he was, as shown by his letters to the Signoria of 
 Siena, busy at Bagno dei Vignoni near Orcia, estimating the cost of restor- 
 ing the bridge near Orcia, “Ponte all’ Orcia”. He was also fortifying 
 Asciano and was chosen the architect and selected the site for the building 
 of the church of San Giovanni in Pantaneto di Siena, although Milanesi 
 says that if Peruzzi made the design it was departed from later.1_ Ricci 
 and Romagnoli believed Peruzzi designed the interior in 1528-31. It also 
 was known as church of the ‘‘Concezione” (Conception), now Servi (PI. 
 69). Milanesi believes possibly it was done by Venture di Ser Giuliano 
 Turapilli, who died in 1522. It may possibly have been executed from 
 Peruzzi’s designs by ‘Turapilli or others. A certain capital, however, sug- 
 gests those in a courtyard at Santo Spirito in Sassia, Rome, done by him and 
 in the Turchi chapel, Siena. It is claimed that the Servi was the inspira- 
 tion for San Niccolé in Carpi. ° 
 
 In 1529, according to Vasari, or 1524 according to others, he designed 
 the tomb of Pope Adrian VI., in S. M. dell’ Anima, Rome, by the orders 
 of Cardinal Enckenviort (or Enckevort). It was executed by the Sienese 
 sculptor Michel Angelo assisted by Tribolo who did the allegorical figures, 
 
 ees Gaye also, ‘‘Carteggio Inedito, etc., 1839-40’? for his appointment as architect for this 
 church, 
 
Hee. Dae ord EOP eRe 1 47 
 
 and by Peruzzi. ‘The latter also did the paintings around it, of the Saints 
 Bennone and Antonio canonized by Adrian, and designed the three doorways 
 of this church. As Peruzzi was also at Poggibonsi this year, 1529, Vasari 
 may be in error as to the exact date; 1524 seems more likely and the tomb 
 was really finished before 1529, because in a document dated July 29, 1529 
 Peruzzi appoints his old friend Pietro d’Andrea da Volterra, ‘‘Sienese 
 
 painter’, his attorney to recover from Cardinal Tortose Enckenviort the 
 balance of the cost or contract for the tomb, nine gold scudi. Tribolo, the 
 assistant on this work, was he who traveled with Cellini to Venice only to 
 find that Sansovino put off employing him, for which Cellini says he rebuked 
 Sansovino at his own table. 
 
 On the 23rd of February, 1529, Peruzzi’s appointment as architect 
 of the Sienese Republic was confirmed for the coming year. On the 8th 
 of March he was busy with the fortifying of Chiusi, which his sketch No. 617 
 in the Uffizi shows, and on the roth day of July he was first made Capo- 
 maestro of the Duomo at Siena. On September 2cth he praised Bazzi’s 
 work in the Palace of the Signoria. By the 22nd of September he was 
 engaged in the war against Florence, and before the walls of that city, 
 probably as a military engineer, although Vasari says that he displeased 
 the Pope by not being willing to aid in the attack. On the 20th of October, 
 1529, he reports to the Signoria at Siena from Poggibonsi that it would 
 be easy for Papal troops to take possession of Poggio Imperiale and to occupy 
 and garrison the whole of Valle d’Elsa. In this year he probably finished 
 fortifying Siena and designed the repairing of the walls of orrita near 
 Montepulciano. 
 
 The late W. P. P. Longfellow wrote with great enthusiasm in the 
 November issue of Vol. VI of The Brickbuilder, praising, as follows, 
 Peruzzi’s tower of the Carmine church (Pl. 70) opposite the Pollini palace, 
 built about 1531: “It is for all its simplicity one of the finest of the Renais- 
 sance campanili, as it is one of the earliest, and bears such marks of Peruzzi’s 
 peculiar command of fine proportion in all details as well as in masses, that 
 it would be difficult not to accept the tradition which ascribes it to him. I 
 know of no other piece of brick detail in Siena which can be classed with it. 
 Every detail is in brick, there is not a line or scrap of stone or terra cotta 
 in the whole. Even of moulded bricks the forms are few, very simple and 
 very sparingly used. * * * Al desirable detail is here; the proportion 
 is so finely adjusted, the relief so delicate and yet so firm, the emphasis so 
 well bestowed, that the tower has the effect of a finely treated design in 
 wrought stone and an air of elegance which it is very rare to find in pure 
 brick work, etc. * * * of its type there is none better’. Ricci thinks 
 the Carmine tower not Peruzzi’s on account of the style, but other critics, 
 the sketch in the Uffizi, and the detail proclaim it his. Lazzeri gives the 
 name of the builder as Maestro Domenico Ponsi. 
 
 Peruzzi also designed the church and its cloisters (Pl. 71). In the 
 
48 LP EE GANGD WA Grek Sh Oe 
 
 sacristy a wonderfully modelled bronze Christ on the cross, which the cus- 
 todian shows as Peruzzi’s, will bear comparison with Cellini’s work in 
 modelling and expression. On his Uffizi sketch, for the Carmine—only a 
 rough study—is written, in Peruzzi’s handwriting, “Jo Baldassare putio 
 (Peruzzi) archittetore e pittore fo. (made it) piena e indubitata fede come 
 
 gia piu sono. XI Oct. MDXXAXI’, a notation showing his authorship. 
 
BULDASSARE PERUZZI 49 
 
 CHAPAUERMV LT 
 ROME—1 5 30-I—SIENA— 153 1-2— RoME-—1 532-6 
 
 Rome appreciatively claimed his services once more when Pope Clement 
 awoke to the necessity of pushing the long neglected work on St. Peter’s and 
 appointed him to take charge of the construction from 1530 to 1531. At 
 this time he had the unusual honor of holding simultaneously the three offices 
 of Architect-in-Chief of St. Peter’s and at Siena, Capomaestro of the Duomo, 
 and Civic Architect. 
 
 After having made a design for the great palace or “Rocca”, at Capra- 
 rola, northwest of Rome near Viterbo, he is known to have been at work 
 during 1530 on the actual construction of the building (Pl. 72) which he 
 had then built up to the ground floor. ‘That he was, as Milanesi says, its 
 author, seems well borne out by his studies now in the Uffizi, which consist 
 of pentagonal plans for it. Among these is a small section of “Profilo dela 
 Podra (country house) di Caprarola”’ on the same sheet as a sketch plan, 
 and a note in his handwriting which reads, (translation) “Silvestro da 
 Caprarola received 16 julii (name of coin) from me Baldassare Architect 
 of Siena to purchase for me so much linen cloth; he did not buy it nor is 
 he returning to me the money.” 
 
 One sketch plan shows a pentagonal building, marked ‘180’ on one 
 side, and the section shows two stories with vaults below, a large hall, and 
 in front a loggia, all under the same roof. Also in the Court library at 
 Vienna there is by him an extremely interesting rectangular plan for Capra- 
 rola, probably one of his early studies.! Besides these there are in the Siena 
 sketch-book his sketches of stairs in pentagonal bastions, such as exist at 
 Caprarola, which also prove that Sanmicheli was not the first to use the 
 pentagonal bastion as has been asserted. “The pentagonal plan of Caprarola 
 like a huge bastioned castello is very suggestive of Peruzzi’s talent as a 
 military engineer. Other sketches in the Uffizi show his experiments in 
 planning villas of square shape (Pl. 72) with loggias and the wall lines of 
 bastion towers at each corner slanting in toward the center of each side of 
 the building. “These were evidently suggested by the plans of his military 
 bastions, and may be early studies for Caprarola or may have led to its final 
 design by him. His authorship of Caprarola now seems to be beyond ques- 
 tion and Peruzzi shares the credit for this interesting and palatial country 
 house with Antonio Sangallo the Younger and Vignola who carried on 
 and completed it. Vignola designed the “palazzino” or casino of this estate. 
 
 In 1531 he planned the casemates of Port ’Ercole, and also invented 
 a new way of stamping money. ‘This same years he went to the Maremma 
 
 1“Entwurfe Baldassare Peruzzi’s’’ etc. (1902) Hermann Egger. 
 
50 ELIF EVAN DAG ORES <OF 
 
 to survey its fortified hill towns, with a view to their re-fortification, and 
 also visited Siena. On October 28, 1531, certain citizens of that city who 
 knew that he was insufficiently paid, petitioned the General Council to in- 
 crease his salary on account of the great value of his services and accordingly 
 the amount was doubled. 
 
 He designed the main bronze doors and made a sketch and a model 
 for the high altar of the Duomo. A bull dated May 21, 1532, was issued 
 by Cardinal A. Spinola allowing Peruzzi to remove certain marbles from 
 Rome to Siena for the altar construction. ‘This was undoubtedly when he 
 changed the position of the altar from its original position under the cross- 
 ing and decorated the pilasters of the apse, which are so Roman yet Bolognese 
 in their character as to recall those of the apse of San Michele in Bosco, 
 Bologna. A sketch for the apse of the Duomo at Siena, is now in the Alber- 
 tina in Vienna,! and that for the altar is in the Royal Palace, Turin (Pl. 73). 
 
 In 1532 Peruzzi was again appointed Capomaestro of the Duomo, at 
 a yearly salary of 30 scudi, or crowns, and on July 16 he orders Niccolo 
 Cecchini treasurer of the Marsiliana to make a payment to Galgano Fondi 
 attorney of the Brothers of San Domenico, who had advanced the money 
 for the first payment on his house, and on October 12th the Sienese Republic 
 voted him the rents of the Marsiliana, 240 scudi annually, for eleven years. 
 This year too, he built the bridge at Buonconvento, southeast of Siena. On 
 October 5th, 1533 his friend Girolomo Angelo Menichelli, the mason, 
 acknowledges the receipt from Peruzzi of 50 scudi in part payment of his 
 loan. Surely the balance was paid later. On May 15, 1534, there is a 
 record of 882 lire, paid for mixed stone ordered from Rome and for the 
 inspection of same by Peruzzi. In the Duomo he is also credited with 
 designing the steps and their balustrade to the pulpit by Pisano which were 
 executed by Bernardino di Giacomo in 1543, and are by some critics attributed 
 to Peruzzi’s follower Riccio. 
 
 In 1534 Pope Clement VII. died and was succeeded by Paul III., 
 Alessandro Farnese, duting whose pontificate, ending in 1550, Peruzzi, A. 
 Sangallo the Younger, and many other famous artists did their last works. 
 
 Sometime after the death of Antonio Sangallo the Elder, in 1534, 
 Peruzzi finished for him the Contucci Palace (Pl. 83) in Montepulciano, 
 adding the top story at least. He also built there the little house Via Cavour 
 No. 27 and a dwelling Via Ricci, No. 9, dates unknown 
 
 ~The Belcaro villa (Pl. 74-5-6) built between 1532 and 1535, was his 
 last architectural work near Siena before his final return to Rome. Belcaro, 
 originally a mediaeval fortress, stands on the top of a hill. Dense ilex 
 trees grow about it now, their tops level with the ancient ramparts. Around 
 the paved top of these one can walk behind the parapet and look down 
 on the court and the small garden to study the formal but pleasing exterior 
 of the casino. ‘This or its prototype and court, chapel and loggia Peruzzi 
 
 1Stegmann and Von Geymiller ‘Die Architaktur der Renaissance in Toscana’’. 
 
Bae DASSARE PERUZZI 51 
 
 planned in the Gothic stronghold for the Turamini family and so very 
 harmoniously is it all accomplished, although done in a Renaissance style, 
 that it is hardly to be criticised. His plan in the Uffizi, possibly a first 
 study, differs a little from that of the present villa, or casino, and its court- 
 yard, and Frizzoni states that the interior of the dwelling and the wall 
 separating the court from the garden are the architectural works by Peruzzi 
 now remaining. 
 
 Belcaro belonged to the Savini family in the XVI. century, and in 
 1377 in a dilapidated condition it was given by Nanni di Ser Savini to St. 
 Catherine of Siena who made it into a convent “of religious women who shall 
 continually pray for the city and inhabitants of Siena”. She called it “Santa 
 Maria degli Angeli” and wrote some of her letters from there. After this 
 the Bellanti owned it as a fortress, but in 1525 the wealthy bankers ‘Turamini 
 bought it, and Peruzzi later, besides designing for them the courtyard, casino, 
 loggia and chapel, frescoed the latter three. In 1554 Belcaro was again 
 a fortress and was won by Gian Giacomo de’ Medici, the last of the con-. 
 dottieri and Commander of the allied forces of Charles V. and Cosimo I. 
 This was the end of the Siena Republic. Belcaro was later called the villa 
 Camaiori. 
 
 _ Peruzzi’s fine fresco The Judgment of Paris (Pl. 74) is painted on 
 the entrance hall ceiling in the casino and the garden loggia contains his 
 badly restored, but effective frescoes of amorous, classical subjects, in trellises 
 with birds, etc. (Pl. 76), while the chapel has paintings of a religious char- 
 acter. Altogether one gains here a new insight into his great powers as 
 a decorative painter. Leader Scott! says of Peruzzi’s frescoes in general— 
 probably meaning the larger figure compositions—‘‘as one never sees a Fra 
 Angelico without his ethereal blue, so Peruzzi never paints a picture without 
 at least one sea-green robe; it is the peculiar coolness of this tint and his 
 taste in toning down all his other colors to agree with it, which gives a 
 peculiar airy charm to his coloring’. She also calls him ‘‘perhaps the finest 
 decorative painter of his age”. The interior of the Villa Saracini and the 
 frescoes at Belcaro show how closely Peruzzi’s work was connected in 
 manner and quality with that of Giovanni da Udine, and possibly they 
 worked together even more than is recorded. 
 
 ‘The last decoration he did here at Belcaro and probably his last mural 
 painting anywhere, is the Turamini coat-of-arms in the chapel, consisting 
 of a half moon and star surrounded by cherubs and dated 1535, for in 
 March 1535 he returned to Rome, where he remained for the rest of his life. 
 
 The Ossoli palace at the corner of Vicolo dei Balestrari and Piazza 
 Spada in Rome is credited by Geymiiller to Peruzzi, as not much earlier in 
 style than the Massimi palace, and by Letarouilly as of the year 1525. It 
 should be seen first at a distance through the Vicolo dei Balestrari with the 
 afternoon sun on its front in order to appreciate both its strength and refine- 
 ment. ‘The projections and reveals are ample, the mouldings vigorous but 
 
 1 Leader Scott (Mrs. Lucy E. B. Baxter) in ‘‘The Renaissance of Art in Italy”. 
 
52 EE EAN Dy OAS SOP 
 
 not coarse. It is undeniably by the man that designed the Farnesina and 
 the Massimi, and is moreover a building which even a careless observer will 
 notice. The fine antique fragment set, in Peruzzi’s manner, over the door- 
 way (Pl. 15-16) is the only one remaining of several which he built into 
 the front. There were originally others placed between the basement win- 
 dows to mask them. 
 
 He must have designed the Massimi palace sometime after 1532. It 
 was his masterpiece, “the last original work of the Renaissance in Rome” 
 as Gnoli says in “Have Roma’, and to many the most perfect dwelling 
 of the period. The sack of Rome had destroyed among other buildings the 
 old Pietro de’ Massimi dwelling on the Via San Pantaleo. Here in 1435 
 had been set up by Pannartz and Schweinheim, nomadic Germans, one of 
 the first printing presses in Rome from which came early editions of the 
 classics. "Che head of the family, Domenico Massimo died after the sack 
 of the city and left his estate to three sons, Pietro, Angelo and Luca. Pietro 
 and Angelo were desirous of building again on the old site, but Luca 
 planned to build across the way, as the Uffizi plan shows. ‘The family 
 claim descent from Fabius Maximus ‘‘Cunctator”’, who wore out Hannibal 
 by his delaying policy, their motto being “Cunctando Restituit’” and the 
 family name included ‘‘del Portico” and later “alle Colonne”’. This pedigree, 
 as stated by Mrs. T. B. Batcheller! who is acquainted with the present 
 family, was traced by the tombstone of Leone Massimo, dated April 23, 
 1012, found on the Aventine Hill, and it is said that since then there have 
 been twenty-seven direct generations. “The new palace of Pietro was to 
 be so designed as to reproduce suggestively the house of an ancient Roman 
 patrician, and “del Portico” and “alle Colonne’” were to be incorporated 
 for the two brothers, in the exterior design. “Today we know from Pompeii 
 and other sources what such a plan should be: like, but aside from the rules 
 of Vitruvius and possibly some ruins not known to us today, Peruzzi had. 
 little upon which to base his design. In spite of this, however, his first 
 study in the Uffizi shows the clever planner. ‘The final plan (Pl. 77) 
 following the curve of the street was, however, a decided improvement upon 
 the first. This house of the elder brother Pietro is the better of the two, 
 for in its facade (Pl. 78), sixty-seven feet high, is properly embodied 
 both the “portico” and the “columns”, and no front could better grace the 
 narrow curving street, a view of the upper stories being then hardly possible. 
 Now, however, the street is wider and a richer. treatment of the upper stories 
 might suggest itself. “The materials of the building are porous travertine 
 in general, with light grey columns, etc., in the courtyard, while much of 
 the smaller ornament is in very hard stucco. 
 
 Letarouilly, Suys & Haudebourt, Anderson and others, have well repro- 
 duced the beauty of the plan, elevation and interior details, although Leta- 
 rouilly sometimes overlooks the finer but essential characteristics of Peruzzi’s 
 
 “Glimpses of Italian Court Life’, Doubleday, Page & Co. New York, 1907. 
 
Bere Ss ARE PERU LZ ZI 53 
 
 mouldings, as is carefully noted by Mr. John Scarff in the Journal of 
 Avie. tor June 1914. 
 
 This palace is one of the highest expressions of man’s ability to utilize 
 architecturally a given space and materials. It is Greek in its refinement 
 and yet not architecturally Greek, but antiquity living again, in a modern 
 form,! no lifeless copy of earlier art, but a house in which a modern could 
 appropriately and enjoyably live. Indeed its modernity is remarkable. 
 Peruzzi saw exactly what the more cultivated man of the Renaissance 
 properly required as a dwelling and even what future men would require. 
 Today we cannot improve upon the great sense of privacy, security, hos- 
 pitality, and elegance expressed in this house, marking a distinct departure 
 from the mediaeval dwelling surrounded by dangers from without; a condi- 
 tion so perfectly expressed before this in the castles and towers of mediaeval 
 Italy. 
 
 A description of the fine interior need not be given here, but one feature 
 not before explained must be mentioned. ‘The loggias off the court are 
 lighted by perforations at the outer sides of their vaulted ceilings, an arrange- 
 ment which some critics condemn, but it shows Peruzzi’s independence in 
 perforating the space of the frieze in the court for light in the loggias and 
 rooms. A precedent for this is given by Mantegna in his painting of the 
 Baptism of Hermogenes in the Eremitami, Padua. Mantegna also was a 
 great student of ancient design, who undoubtedly had found classic precedent 
 for perforations in such a location and they are logically correct. 
 
 Nowhere else has Peruzzi left such an illustration of what the Renais- 
 sance meant, what it could attain in the hands of a master unless it is the 
 beautiful Pollini palace in Siena. Bramante, trained in knowledge of the 
 antique, a classicist of undoubted depth and thoroughness, never gave the 
 world a building of greater originality and life. His works indisputably 
 will always make a logical and powerful appeal to the architect and the 
 scholar, but Peruzzi interests the antiquarian, the humanist, the architect, 
 and everyone who believes that architecture must advance by the artist’s 
 personal adaptation of it to modern conditions. “The great lesson he teaches 
 here and in general is that the artist, artisan and every man, should put his 
 personality into his work by showing not how much he knows, but how 
 well he can use his knowledge to produce new beauty, new harmony, new 
 dignity. 
 
 The adjoining palace originally of Angelo Massimo forms part of the 
 Massimi building. While revealing an equal simplicity and excellence of 
 arrangement it does not possess the great beauty of Pietro’s house. Yet 
 facade, interior details, and plan are well worth close study for their reserve 
 and refinement. 
 
 The relative heights of the tops of the ground floor windows of Angelo’s 
 palace and that of its main entrance door are very interesting, especially 
 
 1 See Donaldson’s ‘‘Doorways’”’ etc. London, 1833. 
 
54 DLE EGAN DAWG RES EE 
 
 because in Siena, at No. 24 Via Baldassare Peruzzi, we find practically the 
 same slanting lines making a slightly pyramidal composition of the tops of 
 the openings, which as Dr. Frey of Vienna once pointed out to the writer, 
 seems to remove any possible doubts as to Peruzzi having designed both 
 buildings, although he died before either was finished. 
 
 At the present day the Prince Carlo Massimo family annually open 
 their palace (of Pietro) to the public one day, in recognition of the miracle 
 said to have been wrought by Saint Filippo Neri, the family priest, in 
 resuscitating Paolo, the son of Prince Fabrizio Massimo in 1583, although 
 the boy died shortly afterward. 
 
 Each year therefore on March 16th, hundreds of people of all conditions 
 and kinds, rub elbows up the stairs of this palace, passing all day long 
 through the beautiful courts, loggias and rooms to see the relics and the 
 little chapel into which the sun pours morning and afternoon through win- 
 dows high up on each side. Such an interest is shown only where people 
 are attracted by their surroundings, and here, I believe, the greatest factor 
 is the indefinable but intense charm of Peruzzi’s architecture and the deco- 
 rations. 
 
 There is in the opinion of the writer, no one building of the Renaissance 
 which can so fully instruct a student in the highest expression of his art. 
 The other house for Luca, across the street was never begun. 
 
 In LeMonnier’s and in Milanesi’s edition of Vasari and in Letarouilly 
 we find that the church of Santo Spirito in Sassia, Rome, built 1534 is also 
 Peruzzi’s plan and not San Gallo’s. 
 
 In 1535 Paul III. made Peruzzi again architect of St. Peter’s, but he 
 probably had done little if any important work before fatal sickness attacked 
 him. 
 
 The Pope heard of Peruzzi’s severe illness, caused, it was suspected, 
 by poison administered by a jealous rival. He sent to him by Jacopo Melighi 
 or Melighino, the accountant of St. Peter’s, a kind message and a present 
 of 100 scudi, and it was too late to restore his strength, and early in 
 January 1536 the light of this noble life went out under a cloud of appre- 
 hension for the future of his family whom he left with little means of 
 support. Vasari states this, and comments on the ungratefulness of his 
 clients. “The date of his death is given both by Fea and Milanesi as the 
 6th of January, 1536, although Vasari states that the inscription on the 
 tomb was dated January 4th. ‘The suspicion of poison was never substan- 
 tiated yet may have been true. He was the last of the really great Sienese 
 painters and architects. With all his undisputed talent, his hard work and 
 his fame, Peruzzi’s life was a constant struggle against poverty, disappoint- 
 ing conditions in the non-completion of his designs, and injustice in the 
 lack of adequate reward for his excellent and conscientious work, His 
 plucky career helped bring about, and extended through, the highest phase 
 of the Renaissance and his lifetime saw nine Popes on the Papal throne, 
 
PAN OMeS ARE PH RGAZ SL 55 
 
 but if there is such a thing as ill-luck, it certainly attended this great inter- 
 preter of Renaissance life and ideals. 
 
 Yet after all, as we have seen, he was not without great honor in his 
 own city of Siena, modest as the pecuniary returns certainly were, and it 
 was largely due to his Roman practice that, as Rosini affirms, in “Storia 
 della Pittura Italiana’, he was consulted as “the oracle” in architecture. 
 
 Vasari writes of his funeral as follows: “He was deeply mourned by 
 his friends and children who laid him to rest in the Rotonda (Pantheon) 
 near Raffaello da Urbino; all the painters, sculptors and architects of Rome 
 accompanied him with tears to the grave, according to his remains the most 
 honorable sepulture and inscribing over them the following epitaph” (which 
 Bottari states was not in the Pantheon in his time): (Translation) — 
 
 “TO BALDASSARE PERUZZI OF SIENA, A MAN SO EXCEL- 
 LENT IN PAINTING AND ARCHITECTURE AND OTHER 
 ARTS OF GENIUS THAT HAD HE DIED IN ANCIENT TIMES. 
 OURS WOULD DISTINGUISH HIM MORE HAPPILY. HE 
 LIVED FIFTY-FIVE YEARS, ELEVEN MONTHS AND TWENTY 
 DAYS. LUCRETIA AND GIOVANNI SALLUSTIO TO THE 
 BEST HUSBAND AND PARENT, WITH THE TEARS OF 
 SIMONE, ONORIO, CLAUDIO, EMILIA AND SULPIZIA THE 
 YOUNGER CHILDREN, GRIEVING HAVE PLACED THIS 
 MEMORIAL THE FOURTH OF JANUARY 1536.” 
 
 “The fame of Beldassare was greater after his death than during his 
 life; more particularly were his judgment and knowledge vainly desired 
 when Pope Paul III. determined to cause the church of San Pietro to be 
 completed, seeing that all then discovered how useful his assistance would 
 have been to Antonio da San Gallo”. Not many years after his death, 
 Serlio, in the introduction of his Book IV. of Architecture, declared: ‘For 
 all you will find here to please you, do not give praise to me but give it 
 to my predecessor Baldassare Peruzzi who was not only very learned in 
 this art, but was also courteous as well as liberal in directing those who 
 were interested, especially me, which recounts to his benignity”. He also 
 commended his sound taste, facility and elegance. 
 
 Among others who have praised him, Lomazzo wrote, he was “Archi- 
 tetto Universale’; Milanesi called him, “This most excellent master”; Lanzi 
 said that he is to be ranked higher than Bramante; Eugene Miintz, in his 
 “History of Art During the Renaissance” says, “In this race, always borne 
 toward fineness rather than toward force, architecture took on more and 
 more purity, tendencies which * * * found their highest expression in 
 the Sienese, Balthazar Peruzzi, pre-eminent harmonist in the matter of 
 architecture”. D. Gnoli states that he was “perhaps the most perfect archi- 
 tect of the Renaissance”, and Sir Reginald Blonifield unreservedly terms him 
 “the greatest architect” of that productive period. 
 
 There are extant at present the following portraits of him: 
 
56 ET PE DAN DIGG ORS Os 
 
 The likeness which appears in the wood cuts of the various editions 
 of Vasari’s “‘Lives’’. 
 
 The pen and ink sketch which he drew on the margin of his Sketch 
 Book in the Public Library of Siena (‘Title page, Pl. B) like the above. 
 
 His drawing in red chalk on the side of a sepia design of the Marriage 
 of Rebecca (244 Bis. Uffizi Collection). 
 
 The bust by Giovanni Dupré (1853) in the Art Gallery at Siena 
 CPI S6)% 
 
 Variations of the likeness of Vasari’s ‘“‘Lives’, in Suys and Haudebourt’s 
 “Palais Massimi”’, and Percier and Fontaine’s ‘‘Palais et Maisons de Rome”. 
 
 The likeness in “The Expulsion of Heliodrus (Vatican) where Mrs. 
 Ady! believes with Morelli? that Peruzzi is painted standing opposite and 
 at the left of Raimondi, both acting as litter bearers to Pope Julius II. 
 
 Copper-plate engraving by Dieu and Thierry, etc., exhibited in Paris, 
 June 1889, at Ecole des Beaux Arts, ‘Exhibition of Portraits of Architects”. 
 
 Copper-plate engraving in Bullart’s “Academie des Arts et Sciences, 
 1682”. 
 
 In Dreux and Raider’s ““L’ Europe Illustre’’. 
 
 Lithograph in British Museum signed “Jeanron del Bouquet sc”. 
 
 Sketch by Peruzzi of himself, No. 438 in the Uffizi Collection, by 
 which Morelli established the likeness referred to above. 
 
 Oil painting of himself from Professor Elia Volpi’s collection (Frontis- 
 piece, Pl. A). 
 
 Small head in An Allegory of Mercury, by Peruzzi, now in the Louvre. 
 
 It is noticeable that the marginal pen and ink drawing of a head in 
 Peruzzi’s sketch-book in Siena, is strangely like the head of Simone Memmi 
 which Vasari gives in the life of that earlier artist, but it is also like Peruzzi. 
 Memmi’s head may be an imaginary one based upon this drawing by Peruzzi, 
 possibly for Vasari, from a source now unknown. 
 
 1In, “Raphael in Rome’, E. P. Dutton & Co., New York, 1907. 
 2L’Archivio dell’Arte Italiana, Series II—Vol. II, 1896, p. 397. 
 
Pi ASS ARE PRR OLLI 57 
 
 CHAPTER IX 
 
 REVIEW OF PERUZZIS QUALITIES AND METHODS 
 Nectect or His Tomsp—Sicnor GNOLI’s SUGGESTION 
 
 INCREASE OF His FAME 
 
 Peruzzi’s remarkable, if not greatest gift, was the strong sense of pro- 
 portion or scale manifest in almost all his work, due to what we term “a 
 correct eye’. So noticeable is this that it is constantly alluded to by those 
 who have studied his sketches and executed designs. While undoubtedly . 
 improved by familiarity with the antique, it could not have come from that 
 alone, for his early work also shows that in this quality he stands far above 
 his contemporaries. Architects recognize it as one of the rarest gifts, and 
 while other men have possessed, no one has ever more constantly or appre- 
 ciatively used it. With him it was second nature and attracts attention 
 to his buildings before one is aware of the compelling cause. 
 
 ~ Next comes his full appreciation of the value of plain wall surfaces, 
 or solids, as elements of relief and strength in contrast with the voids of 
 - openings. Famous architects have failed to grasp this principle or wilfully 
 neglected it for other effects to catch the eye; indeed many seem to have 
 feared to leave a plain surface anywhere. 
 
 The simplicity and directness of Peruzzi’s compositions appeal power- 
 fully to eyes tired of the modern confusion of too many features. His mould- 
 ings are well designed and in the proper place, but he neither crowded them 
 nor neglected their scale, and this suggests another quality in his works, an 
 often noticed and almost Greek character of refinement. Whence did he 
 derive this? Certainly not, as far as we know, by extended travel outside 
 of Italy, although he apparently visited Northern Africa and may have seen 
 parts of Sicily. It must have been that his acute powers of observation and 
 absorption recognized and appreciated the refinement in the best architecture 
 and sculpture of ancient Greece and Rome, and of those many cities of 
 Italy which we know he visited. 
 
 His originality and inventiveness, present themselves constantly. Where 
 others followed Peruzzi soon led, where many repeated he invented, but 
 so in the ancient vein as to bring constantly before us the evidence that he 
 did not depart from rule through ignorance, but from the exact knowledge 
 that thus the highest ancient art would have met new requirements. 
 
 In the use of “terretta” and sgraffto” he led the way and now we are 
 reviving it crudely in America, although on exteriors it is not suitable for 
 our climate. 
 
 What a boon to the drama was the movable scenery and the machinery 
 
58 LIF EVAN Deg O-RvC8 OF 
 
 for moving it which he invented for Bibbiena’s “Calandra” as already men- 
 tioned, and from what monotony did he thus relieve the modern stage! All 
 actors and audiences owe him praise for this. 
 
 We know that Michel Angelo must have approved of the departure 
 shown in Peruzzi’s employment of a bold cornice on the Farnesina, unlike 
 the earlier feeble ones of the Rucellai palace in Florence and the Can- 
 celleria, Rome, which expose the walls to comparatively unrelieved sun- 
 light, for the great Florentine made an even bolder and heavier feature of 
 the cornice which he placed on the Farnese palace after Antonio da Sangallo 
 the Younger’s death in 1546. 
 
 Peruzzi revived from antiquity the Greek sloping jambs of doorways, the 
 opening decreasing in width toward the top, which when properly designed, 
 is most graceful and good construction; the use of battering or sloping base- 
 ment walls is his, as applied to domestic architecture; and we may yet discover 
 that he used the curved line both in plan and elevation as did the ancients. 
 He invented the introduction of small windows with intermediate ornament 
 in the frieze; he was if not the first, yet among the earliest of the Renais- 
 sance artists to adopt the placing of semi-reclining figures in spandrels and 
 children on capitals. Projecting instead of sunken panels, at Siena on the - 
 Carmine tower and on the little chapel outside the Porta Camollia and strap- 
 work forming panels on the facades of Vicobello, and other villas, are 
 further proofs of his versatility. In such things there is a record of orig- 
 inality equalled by few of his contemporaries. 
 
 Peruzzi never misplaced ornament. He knew what to use and where to 
 place it and appreciated too the value of contrasting it with plain surfaces, 
 while he has left several examples of his ability to design an interesting 
 building with little or no enrichment. Herein, as in his use of stucco and 
 brick, he was in no way inferior to Palladio or others whose inexpensive 
 methods often have been extolled, but never in Peruzzi’s work, as in that 
 of some other men, is the result cheap and unsubstantial. 
 
 He was called the most elegant painter among the architects and the 
 most ingenious architect among the painters. Of his talent for portraiture 
 we can judge very favorably from the painting of Bindo Altoviti now in 
 the Munich Gallery; of Alberto Pio in the Mond Collection; of himself 
 (Frontispiece) and from the excellent heads of donors in his pictures else- 
 where. He was also a most accomplished designer of pageants; deeply inter- 
 ested in astrology, and one of the greatest of perspective draughtsmen, accord- 
 ing to Milizia, having been credited with the invention of “points of dis- 
 tance’ says Larouse, by which is possibly meant vanishing points, and accord- 
 ing to Vasari he was exceedingly skilled in the use of grotesques of great 
 elegance. His paintings of sacrifices, bacchanalian and battle scenes are exe- 
 cuted with an enthusiastic spirit rarely equalled, as in his battle detail on 
 the front for San Petronio (PI. 44). His frescoes place him, in spite of 
 certain mannerisms, in the front rank of draughtsmen and colorists, but be- 
 sides this his superb ceilings, decorations and friezes show a strong grasp 
 
Bea OaS Ss ARE PRR ZZ I 59 
 
 of the principles of mural decoration revealed not merely in the use of 
 architectural ornament which is its most important accessory, but in the 
 grouping of figures, in color and in general composition. Indeed the late 
 Professor Anderson who greatly admired his works, says: “The Sistine chapel 
 is justified by its success but the golden mean of a union of truthful archi- 
 tecture and appropriate decoration is attained with happier results in the 
 interior of the Villa Farnesina and the Palazzo Massimi alle Colonne’’. 
 
 Mr. Berenson says in the Gazette des Beaux Arts, March 1896: “In 
 his youth Peruzzi, inspired by the exquisite simplicity of the Umbrians and 
 the decorative feeling of the Sienese school, is a charming painter. It is in 
 just this phase of his art that we see him represented by two panels belonging 
 to Mrs. Gardner (Boston), each of which has for its subject a young warrior 
 (of the Medici family), with landscape. The figures, attitudes, armor, orna- 
 ments, all recall Peruzzi as we know him in his early paintings, in the deco- 
 rations for the Stanza of Heliodorus in the Vatican and in certain other 
 little known works, as for instance in an altar picture with the Virgin, the 
 Donor, Saint Sebastian and Saint James, in the villa Albani at Rome, and 
 attributed to Signorelli. 
 
 “A companion piece to these two figures is in the museums at Tours; it 
 represents a young warrior armed with a hatchet’. 
 
 A volume could be written on his talent for all this work, but here it 
 is enough to say that his knowledge of painting must have helped immensely 
 in his architectural work, especially in the selection of materials with refer- 
 ence to texture, color and composition. “That he knew also the full value 
 of rich materials and how to treat them is assured by his superb high altar 
 at Siena, but in general he used from necessity the simplest mediums and 
 did not disdain stucco when he had to accept it, a hint which he probably 
 got from its ancient use, and from Giovanni da Udine, who is said to have 
 rediscovered a way to make it enduring. 
 
 In the use of brick and terra cotta he is an unrivalled master, seeming 
 to feel their great possibilities and limitations, but in all materials he never 
 tried to go beyond the logical limit. 
 
 In the stone and marble work of his day the jointing was done much as 
 it is now; emphasis was obtained by dressing and by a careful study of the 
 scale of stone and marble blocks for each building. San Gallo and later 
 men have run the gamut of effects in alternating low and high courses of 
 stone, in making some with rounded edges, and margin drafts, and others 
 with vermicular patterns, but Peruzzi seldom if ever strayed far afield in 
 such experiments. 
 
 Sansovino, Sanmicheli, Vignola, and later Palladio, profited much from 
 him, indeed the first two, Anderson states, had their definite ‘Peruzzi man- 
 ner’ and his influence, we know, was considerable upon others. 
 
 Of his numerous engineering designs, including irrigation projects, forti- - 
 fications and bastions, and his inventions of machinery mills, a “‘pestio” or 
 
60 DLE Feet N Dew AOLR fe Te 
 
 “Catorcio” with secret letters, a screw press and hosts of others, the Uffizi 
 has many, showing great versatility and a broad range of interests. 
 
 Anderson says, quoting from a French writer, ‘““By common consent he 
 was placed at the head of such men as San Gallo, Michel Angelo and 
 Raphael, because of his genius and talents, and the degree to which he con- 
 tributed to the glory of the age; but the modesty of his character and his 
 lack of ambition has robbed him of these honors, and his merits, appreciated 
 alone by artists, repose almost without fame”. Yet it is true that a man 
 who so constantly worked and studied possessed ambition of the finest kind. 
 
 Of Peruzzi’s several pupils and followers, one of the most noted was 
 Sebastiano Serlio, of Bologna, an architect of considerable talent. He was 
 born in Bologna in 1475, and spent the years from 1511-14 in Pesaro, going 
 then to Rome, and afterward to Venice where he was busy on the Palazzo 
 Zeno and designed in 1534 the church of San Francesco della Vigna and 
 the Palazzo Bembo (now Correr). He went also to Pola, Dalmatia to study 
 its Roman remains. While in Venice he was favorably known and attracted 
 the attention of the Doge Andrea Grilli. Later he studied the antiquities 
 of Ancona, Spoleto and Rome where he composed his work in five books 
 entitled “Regole Generali de Architettura’, 1549, Venice. He sent a copy 
 to Francis I. who presented him with 300 gold crowns and asked him to 
 Paris, whither he went in 1541 with his family, and was appointed architect 
 at Fontainbleau. He was also invited to plan the court of the Louvre, but 
 generously recommended the plan of Lescot as superior to his own. After 
 Francis’ death he returned to Lyons, where he had little to live upon, but 
 returned afterward to Fontainbleau and died there in 1552. He probably 
 also completed some of Peruzzi’s buildings in Bologna and may have done 
 other works there from his own designs. P. Selvatico in praising Peruzzi’s 
 work! says that Serlio’s books are really Peruzzi’s material edited by Serlio, 
 which is perhaps what Serlio wished to convey without actually saying so. 
 Lomazzo (p. 14 in “Idea del Tempio”) directly accuses Serlio of plagiarism 
 in using the actual work of Peruzzi, but in view of what Serlio declares, 
 this charge hardly holds. ‘The Ferrarese, Jacopo Melighino, finally made 
 architect-in-chief by Paul III., fell heir to most of Peruzzi’s manuscripts 
 and drawings of ancient Rome, but it would seem that Serlio later possessed 
 a very large part of them. 
 
 Peruzzi’s son, Giovanni Sallustio (or Salvestro, or Salverio), married, 
 had children and inherited his father’s talent to a degree, for the Uffizi 
 possesses several of his drawings of ancient buildings and he is known to 
 have done work for the Austrian Emperor Maximilian II., in 1567, and for 
 Paul IV. the “gateways of the Castle of St. Angelo”. Onofrio or Onorio 
 (Honorius) became a monk and the lives of the other children are not note- 
 worthy. 
 
 P. Ugurgieri mentions "Tommaso Pomarelli of Siena as a disciple. 
 
 1In “Storia Estetico-Critica delle arte del Disegno’’. 
 
iMag aNe oA RE PRR OZ Zl 61 
 
 Francesco da Siena was also a pupil, from whom Vasari obtained the like- 
 ness of Peruzzi, shown in the early editions of the “Lives”. Very little 
 is known of this artist, but Vasari speaks of him with praise and as Peruzzi’s 
 “creature and disciple’, and also mentions a certain Pierantonio Salimbeni 
 (who received Peruzzi’s sketch book) as another pupil, and, as among his 
 distinguished pupils, Tommasino della Spezia whom II Ferri names as archi- 
 tect of a building, unlocated by me, which served as a custom house in Siena 
 as recently as 1859. Daniele da Volterra, or Ricciarelli, was also for a 
 time in Peruzzi’s studio and at another time worked under Bazzi. 
 
 | One of his best trained and most careful pupils and followers was 
 Antonio Maria di Paolo Lari, “Il (or Del) Tozzo” born in Siena in 1503, 
 both painter and architect. In the years after Peruzzi’s death he did con- 
 siderable work for the Sienese government, as its records show, and like 
 Serlio may have completed some of the master’s work. 
 
 Giovanni Battista Peloro was another Sienese architect and pupil of 
 Peruzzi, while Riccio of Siena, son-in-law of Bazzi, T. Pelegret of ‘Toledo, 
 Spain, G. Philandrier of Rodez, France, and Vergilio of Rome were painters 
 who were instructed by Peruzzi, as was A. Rozzo. 
 
 It is possible that through Pelegret the designs of Peruzzi now in the 
 Prado and Escorial reached Spain, and one in Montpellier, France (Gallerie 
 des Beaux Arts) may have been carried to France by Philandrier. 
 
 The Nuova Enciclopedia Italiana gives, as Peruzzi’s most famous pupil 
 among painters, ‘“Momo”’ or “Girolamo da Siena’. 
 
 ‘That Peruzzi’s genius never found full expression in a great construction 
 such as St. Peter’s, all lovers of architecture must regret, for in all prob- 
 ability he would have built a grand church. His dome would hardly have 
 surpassed Michel Angelo’s but it would have been in harmony with his 
 entire plan. Moreover, both inside and out he would not have failed to 
 enrich it with better details than those of the present church. 
 
 Peruzzi’s fame has suffered because the exact location of his tomb in 
 the Pantheon is unknown and the building does not even contain an epitaph 
 or bust of him. ‘These conditions seem like a continuation of the strange 
 fatality that pursued him while living, and if a rival caused his death, the 
 same envious influence may have soon destroyed his epitaph. He was a 
 man deeply engrossed in his work and this and his reserve kept him from 
 many intimate friendships and deprived him of the greater protection and 
 hero-worship which Michel Angelo, Raphael and others received. Had he 
 left an autobiography as Cellini did, or even been able to finish his treatise 
 on Rome, his fame would have been more widespread, but he evidently could 
 not or would not put himself forward and so the world only appreciated 
 him at a part of his full worth, and the obliteration of his epitaph passed 
 unnoticed. 
 
 The Romans gladly employed him, admired his talent and respected his 
 fine qualities, but no doubt many clients took advantage of him, often paying 
 him very little or else forgetting their obligations entirely. ‘This was the 
 
62 LiL BO UAIN GD OSRAIC Oe 
 
 experience of many great artists during the Renaissance. Cellini especially 
 complains of the neglect which he suffered from Popes and princes, who 
 failed to pay him promptly or at all. The Medici, Paul III., Francis L., 
 and others are so often spoken of as forgetful, to say the least, that apprecia- 
 tion of talent and forgetfulness of obligations seem purposely to have gone 
 hand in hand. At his death Rome, as a whole woke to the fact that Italy 
 had lost a great artist, mourned him, buried him near Raphael and soon, 
 in the troubled times following, turned to more urgent things, but it is 
 strange that no later attempt has ever been made to place his bust in the 
 Pantheon and renew the mortuary inscription. 
 
 It is however, not too late to right all this injustice; men of his stamp 
 are so rare that humanity cannot for its own sake afford to disregard his 
 rightful claims to its gratitude. For besides artistic qualities, most of his 
 characteristics were among the noblest which men can possess, his teaching 
 of the highest rank, and his legacy is the fact that what really counts now 
 as then, is the high aim in life and art, not alone pecuniary success. 
 
 Signor D. Gnoli remarks! that ‘‘the city of Rome ought*to have his 
 epitaph re-cut and placed not far from the tomb of Raphael. It is a disgrace 
 that anyone visiting the Pantheon is not able to find the name of the great 
 architect buried there’. 
 
 During the last quarter of a century his fame generally, but especially 
 in England and America, has been steadily and rapidly increasing, as shown 
 by the appreciative articles in various periodicals and the increasing discus- 
 sion of his genius among architects and painters. Already the fragmentary 
 Peruzzian bibliography in many forms is most extensive. It is therefore 
 possible to hope that his admirers, whether of his own or of all nationalities, 
 will eventually place in the Pantheon a duplicate of the excellent bust of 
 him made in 1853 by Giovanni Dupré, and now on the wall of the Accademia 
 di Belle Arti at Siena, and replace the epitaph which Vasari gives. 
 
 When we look back upon Peruzzi’s life it is impossible to fully realize 
 the dark side of it; time obliterates the worst features of all such conditions. 
 Yet, if we cannot fully appreciate the sufferings and disappointments we 
 can clearly see through it all his never failing pluck and his confident happi- 
 ness in work. Poverty, neglect and sickness apparently were to him mere 
 phases made tolerable by his great vitality. It must have been a stout and 
 cheerful heart that could endure such a life, ever overcoming disappointment 
 and forgetting ill-treatment to begin new works, for in all of these we can 
 trace the delight of the one who invents and creates, the incomparable joy 
 of the artist. 
 
 1In “L’Archivio Storico dell’Arte’’, Rome. 
 
 END 
 
Piasninwoe UR PERO ZL ZI 63 
 
 THE Peruzzi GENEALOGY 
 
 AccoRDING TO MILANESI AND OTHER RECORDS 
 
 Peruzzo. 
 
 Salvadore. (wife unknown) 
 
 Salvestro, married Lionda di Enrico D’Alemagna. 
 
 Desiderio Maria. 
 
 Born Feb. 15, 1475. 
 
 Pietro (according to 
 
 record, or note of a 
 deed, in the acc. book 
 of the Confraternita 
 dei Lombardi, dated 
 beat, 1 is is. ‘near 
 the church of 5S. S: 
 Ambrogio e Carlo, 
 (san Carlo al Cor- 
 so), Via del Corso, 
 Rome), painter prob- 
 
 ably. 
 
 Giovanni Salvestro] Simone. 
 
 or Sallustio 
 
 arch. & engineer, 
 married and had 
 
 sons. 
 
 Giovanni, weaver of Volterra. 
 
 (wife unknown) 
 
 Baldassare Thomasso. Arch. & painter. Virginia. 
 
 b. Siena, Mar. 7, 1480-d., Rome, Jan. 6, 
 
 1536, 
 
 Married Lucrezia d’Antonio del Mate- 
 rasso (painter), probably about 
 1528. 
 
 Ac Oat Moe ER eae i ee ee 
 Onorio, or Onofrio} Claudio] Emilia | Sulpizia 
 
 Dominican friar & 
 
 painter. 
 
64 LTE EOIN SAGO RRS OT 
 
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PaO aS SARE PE RUZAI 65 
 
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60 BIE E "a NED ee Re So A 
 
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 Lazzeri, L.—Siena e I] Suo ‘Territorio. 
 
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 Malvasius—Pitture. 
 
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pana SARE PER UAL 67 
 
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 FRENCH 
 
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 (SERMAN 
 
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68 LIFE 2A NDA eo 
 
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Reged) AN ARE PER OZ L 69 
 
 List of Works Attributed to Peruzzi 
 
 Including Certain Sketch Plans, Paintings, etc. 
 in and near Siena 
 
 AUTHORITIES. 
 “C, W.” means Char- 
 acter of Work itself. 
 
 Vasari— 1501—Chapel of San Giovanni, in Duomo, with Pin- 
 toricchio. Contains the “Vigil of San Giovanni” and his 
 “Preaching in the Wilderness,” etc. 
 
 Berenson— 1527—Badly preserved Fresco Sketch near the arch of 
 Cc. W.— the “due Porte.” 
 Bedford— In the “Opera of the Duomo, design for the ‘“‘Porticato 
 
 of the Piazza Pubblico, made for Pandolfo Petrucci, 
 drawing by Pomarelli from Peruzzi’s design. 
 
 Cc. W.— 1523-27—Three ceilings in the Pollini palace—1—Sub- 
 Milanesi— “ject from Roman History. 2—Adoration of the Magi. 
 (Pl. 66.) 3—History of Susannah and the Elders. 
 
 Bed ford— Ceiling in the Nerucci-Piccolomini palace; ornamented 
 Cw plaster and painted panels. 
 Nouvelle 
 Biographie Piccolomini-Bellanti palace, “The Continence of Scipio. 
 Generale— 
 Lanzi— Holy Family, in possession of the Sergardi family of 
 Siena. 
 ~ Della Valle— 1528—Fresco in church of Fontegiusta of “The Sibyl 
 
 Foretelling to the Emperor Augustus ‘The Birth of 
 Christ.” Sketch of it in Peruzzi’s Siena Sketch book 
 and another study (Pl. 68) in Metropolitan Museum, 
 New York. 
 
 P. Della Valle— Bideeds of Moses” painting at Villa Vicobello. 
 
 C. W.— Three paintings in the house of Signor Selvi. 
 Romagnoli— 
 
 C. W. & hand- 1528-30—Sketch books in the Biblioteca Communale 
 
 writing. with pen and ink portrait of self. 
 
70 
 
 Nouv. Biog. 
 Generale. 
 
 C, W.— 
 
 CW 
 Plan of villa, 
 etc. in Uffizi. 
 
 Lanzi— 
 
 DIP EON Daas ae 
 
 1§20-21—In Mocenni palace, three “‘traits de l’histoire 
 de Jonah.” 
 
 Frescoes after 1505 in many vaulted rooms of the Villa 
 
 Mieli (Le Volte). 
 
 1535—Frescoes at Villa Belcaro; a “Judgment of Paris” 
 (Pl. 74), classical subjects, birds and lattices (Pl. 76), 
 Four Evangelists, Martyrdom of Saints, Madonna and 
 Child, and Arms of Turamini family dated 1535. 
 
 In Parish church of Bibbiano or ‘Torre Bibbiana, or 
 
 Larouse. ( Dict.) — Torre-Balbiana, altar-piece of Virgin and Child, St. John 
 
 G. Della 
 Valle— 
 
 G. Della 
 Valle— 
 
 Ufizi— 
 
 C. W.— 
 
 Matas— 
 
 Matas— 
 Baedeker— 
 Coes 
 
 ‘Tradition— 
 
 Vee 
 
 Vasari— 
 
 Burckhardt— 
 
 and St. Jerome. 
 
 At Ansano-a-Dofana, a Madonna and Child. At Cerre- 
 to-Ciampoli, a Nativity, in the Chapel, with S. S. Ber- 
 nard, John the Baptist and Jerome and Joseph, and, above 
 the arch, the Eternal Father—Two doors in the “‘Casa di 
 5.8. Cioni.” (See also under: “Boston, Mass. } 
 
 The Brescianini “Holy Family” at Siena attributed to 
 Peruzzi, and also to Pacchiarotto (by Della Valle), but 
 the outlines and the Child and the Virgin are in manner 
 Peruzzian. 
 
 Plan for alteration of Church of S$. Domenico. (Pl. 84). 
 
 - In AND Near SIENA. ARCHITECTURE 
 
 Chapel outside the Porta Camollia (Pl. 54). 
 
 1501-4—Chapel of San Giovanni in the Duomo. 
 1505—Villa Chigi-Mieli near Siena (Pl. 7-8). 
 
 1507—Church of San Sebastiano (degli Innocenti), in 
 Via Vallepiatta (Pl. 6). 
 
 1508—Martirio of San Ansano-a-Dofana, 5% miles 
 from Siena. 
 
 Fonte di Pescaia. 
 
 1523-29—Parts of the city walls, Bastion and seven 
 gates including Pispina, Laterina, San Prospero, and Cam- 
 
 ollia (Pl. 46). 
 
 1527—Cloister of the Osservanza (Pl. 87), opposite 
 Siena. 3 
 
Pees kA RE PERU ZZ) ai 
 
 Milanesi— 1527—-Cloister of the Carmine (Pl. 71) and Tower 
 Uffizi Coll.— Helle fo 
 
 1527—Cloister of San Martino (Pl. 20-58). 
 
 1527—Cloister (Pl. 56) of the House of St. Catherine 
 and Court. 
 
 Geymiller— Doors of the House of St. Catherine. 
 
 Hill— Organ Case in the Church of the Ospedale. 
 Organ Case in the Duomo (Pl. 53). 
 
 Vasari Hospital of Santa Maria della Scala and ceiling in same 
 i Se 
 1519—Church of San Spirito, front and doorway for 
 Bishop Girolamo Piccolomini of Pienza. 
 
 Muilanesi— 1532—High altar of Duomo and Apse decoration of 
 Pilasters, also Main Doors and the Steps, and Balustrade 
 to pulpit of Pisano. 
 
 Matas— Design of Altar for Duomo, Siena; now is in Palazzo 
 Reale im Purin (PI..73.). 
 
 Grandjean & House with round arches and Madonna enshrined on 
 
 Famin—C. W. first story exterior on Via del Corso (old name). 
 
 Milanesi— Marble Seat in Loggia della Mercanzia or Casino di 
 Nobili, carved by Marrina (Pl. 59). 
 
 Riccio— Church of San Giuseppe (PI. 60). 
 Church of the Servi, Interior, at least (Pl. 69). 
 
 Milanesi & 1523-4-7—Pollini (or Celsi) palace (Pl. 66-67). 
 
 C. W. & Oratorio della Selva. 
 
 frescoes. Building at right of Pal. del’ Papesse. 
 
 Milanesi & 1520-5—Mocenni or Francesconi palace, via Cavour near 
 
 Plan in the Lizza (Pl. 55). 
 
 Ufizi— 
 
 C. W.— Turchi or Diavoli palace (Pl. 83). 
 
 Strack— Chapel of same. 
 
 C. W.— House No. 24 Via Baldassare Peruzzi (Pl. 57). 
 
 Cc. W.— 1531—Church of Valli beyond Porta Romana. 
 
 Villa at Torré Bibbiana, 18 miles from Siena, for Car- 
 dinal Petrucci. 
 
72 
 
 Della Valle— 
 
 Della Valle— 
 
 Wiig 
 Caw: 
 
 Romagnoli— 
 
 C. W. and 
 
 Frescoes— 
 
 Cesare Peruzzi— 
 
 Cay 
 Baedeker 
 
 Burckhardt— 
 
 A. Ricci 
 V. Mariani— 
 C. W. 
 
 Bedford— 
 
 Ufizi— 
 
 C. W. & other 
 
 authorities— 
 
 Uffiizi— 
 
 V asari— 
 
 Ufhizi— 
 
 LIPECANTOIRORES 408 
 
 1528—Restoration of Ponte all ’Orcia at Bagni dei 
 Vignoni and plans for fortifications (1529) of Asciano, 
 Chianciano, Sarteano, Chiusi, Torrita, Bridge of Buon- 
 convento, etc. 
 
 Gateway and Chapel at Cerreto-Ciampoli. 
 
 1525—Villa Belcaro (Pl. 74-75-76). 
 
 Villa Saracini, Interior. 
 Villa of Signor Lodoli, suburbs near Porta Pispina. 
 
 Villa Vicobello (Pl. 17). 
 
 Villa Santa Colomba (PI. 61) about the date of the 
 fresco of the Presentation in S. M. della Pace, Rome, 
 probably after 1516. 
 
 1527—Villa Celsa. Probably not the original mage 
 but chapel court, etc. (Pl. 62-45B-46). 
 
 L’Apparita or Podra delle Loggie, near Villa Nerucci 
 Bee hos t's 
 
 Church Tower like the Carmine, between Santa Colomba 
 and Celsa villas. 
 MonTE SANSAVINO—ARCHITECTURE 
 
 Plan of Church of San Agostino. 
 
 MOoNTEPUCIANO 
 
 Contucci or del Monte palace (Pi. 83). A. San Gallo 
 
 the Elder and Peruzzi. 
 
 1519—Designs for Ricci palace and another little house 
 Via Cavour No. 27 and House Via Ricci No. 9. 
 
 Port’ ErRcOLE 
 
 1531—Designs for Casemates. 
 
 CASTIGLIONE DELLA PESCAIA 
 
 Plans for a house near there for heirs of Silvio Picco- 
 lomini. 
 
Ufhzi— 
 
 Uffizi— 
 
 Ufhzi— 
 
 Vasari, Semper, 
 Campori— 
 Baedeker 
 Spaccini— 
 Semper— 
 
 Milanesi, 
 
 Fletcher— 
 
 Crowe & 
 
 Cavalcaselle— 
 
 V dsari— 
 
 Lanzi— 
 
 Vasari— 
 Gaye— 
 Geymiller— 
 
 BPAde aS SARE FER U-LZ 1 73 
 
 CastEL Nuovo DELLA BERARDEGNA 
 
 Plan for Church and Monastery. 
 
 RAPOLANO 
 
 Plan for house for Vescovo Venturini. 
 
 Monte ANTICO 
 
 Plan for enlarging “Casa di Belgrado.” 
 
 CarRPI 
 
 1511—Design for La Rotonda, destroyed in XVII. cen- 
 tury. 
 
 1517--20—Much of the Church of San Niccold (PI. 
 a0). 
 
 1514—Model for Duomo, for Alberto Pio (PI. 28). 
 ‘The Great Portico or Arcade (PI. 31). 
 
 1515—Front of Oratory, “La Sagra” (Pl. 30-31). 
 
 ‘Topi 
 
 The five-domed church of S$. M. della Consolazione (PI. 
 26). 
 
 VENICE 
 
 In the Seminario a design “Penelope Spinning” is in a 
 Peruzzian vein. 
 
 BoLOGNA—PAINTING 
 Design for Count Battista Bentivogli, “Adoration of the 
 Magi’, engraved, 1579, by Agostino Caracci, now in 
 National Gallery, London. 
 
 At S. Michele in Bosco, Monte Oliveto, Bologna, Deco- 
 rations “in Grottesche.” 
 
 BoLoGNA—ARCHITECTURE 
 
 1522-34—-Designs for San Petronio, now in Sacristy. 
 Detail for San Petronio facade (Pl. 44). 
 
74 
 
 Lamo— 
 Bedford & 
 
 others— 
 
 Malaguzzi 
 Valeri— 
 
 Pietro 
 Lamo— 
 
 Bedford— 
 C. W. 
 
 EAN 
 
 Crave 
 
 Malaguzzi 
 
 Valeri— 
 
 LIP E VAN OrR: KOS Oils 
 
 1522—Fioresi or Monari Palace in Via Galliera for Pan- 
 
 filio dal Monte (Pl. 49). 
 Lambertini Palace (destroyed). 
 1522-40-84-1612—-Albergati Palace (Pl. 47). 
 
 1543-44—Boncompagni, now Benelli palace, courtyard 
 and entrance doorway from street (Pl. 48) 
 
 1522—Large window, ground floor, Pal. Pubblico with 
 colunins and eagles (Pl. 50). 
 
 1522—Central doorway under the colonnade leading 
 from the court of Pal. Pubblico (PI. 50). 
 
 1522—In Church of San Procolo, colored bas-relief of 
 “Adoration of the Magi’, closed by little door under 
 organ. 
 
 Malaguzzi Valeri—1522-23—-At Church of San Domenico, the brick chapel 
 
 Many authors. 
 
 Ghisilardi, later Malvasia, on left of front of church (PI. 
 35) 
 
 1522-23—Part of Church of Madonna Galliera, door on 
 left of front (Pl. 46). 
 
 At San Michele in Bosco, near Bologna, a doorway i: 
 51), and decoration of pilasters of Apse. 
 
 FLORENCE—PAINTING, ETC. 
 
 Holy Family in the Pitti Palace collection (Pl. 86), many 
 sketches in the Uffizi Collection of Designs (Galleria dei 
 Disegni e Stampi), including a “Marriage of Rebecca’, 
 with a portrait of himself at left end. It hangs framed 
 in the Director’s Room (1914) and is No. 244 Bis.— 
 Also many designs of Architecture, Ornament, Engineer- 
 ing, etc. See Mililanesi’s comprehensive catalogue of 
 Peruzzi’s drawings in the Uffizi. Especially a fine de- 
 sign of a grand facade with figures of men and women 
 in foreground—and a fine project for ceiling decoration. 
 
PAL DAS SARE PERU AZ I 75 
 
 FERRARA 
 Lanzi— 1527—-Palace Sacrati and Doorway (Pl. 18). 
 
 VITERBO 
 Della Valle— Panteone di Pontremoli (Ponte Tremoli) (Pl. 63), i.e. 
 Bedford— Santa Elisabetta or S. M. della Peste. Also buildings 
 
 (possibly) non-existing, at Ferentium or Ferento near 
 Viterbo, possibly those mentioned by Vasari as “built on 
 the road leading to Viterbo”, for the Orsini. 
 
 CAPRAROLA 
 
 Milanesi— 1528-30—Original designs for the pentagonal Farnese 
 Villa, finished by San Gallo and Vignola (Pl. 72). Other 
 
 studies at Siena and Vienna for this. 
 
 CHIUSI 
 Berenson— Duomo, in Sacristy “Madonna & Saints.” 
 APULIA 
 Vasari— Some plans for yet unidentified (if built) buildings, “to 
 be constructed in Apulia.” 
 MILAN 
 C. W.— Collection Conte Giovio—“Dido and Aeneas.” 
 M aprip 
 Bedford— Two early paintings in Prado Museum formerly attrib- 
 Berenson— uted to Early Umbrian School. Possibly carried to 
 
 Spain by Peruzzi’s pupil T. Pelegret of Toledo. They 
 are called No. 574, “The Continence of Scipio” and 
 “Rape of the Sabines,” No. 573. 
 
 ENGLAND 
 
 Berenson— Sir Henry Howarth, 30 Collingham Place, London, 
 3.W., owned a picture pronounced Peruzzi’s. 
 
76 Dl STE COANE ore 
 
 Winter Exhibition of the Grosvenor Gallery, 
 
 1877-8 
 Grosvenor William Russell, Esq., loaned a sketch No. 730, in pen 
 Gallery and bistre by Peruzzi, a Virgin and Child and Children 
 Catalogue (signed) from Collection Le Goy. E. Cheney, Esq. 
 
 loaned another No. 738, “Adoration of the Kings’, a 
 pricked cartoon pen drawing. ‘The National Gallery, 
 London, owns the ‘‘Adoration of the Magi” (His last 
 style) in chiaroscuro with the portraits of Raphael, 
 Michel Angelo and ‘Titian as the Kings, also a copy of 
 a similar subject in oil, on a wooden panel, presented by 
 Lord Vernon in 1837. 
 
 C. Wi Sketch for architectural design—Chatsworth Collection—- 
 Photo Braun & Cie. 
 
 Collection of John Malcolm of Poltalloch Esq. 
 by | 
 J.C. Robinson, January 5, 1869, London—Chiswick Press (as follows) : 
 
 SIENESE SCHOOL 
 
 London— No. 137—St. Helena, the Mother of Constantine Wit- 
 Chiswick nessing the Discovering of the True Cross—Bistre wash 
 Press— on brownish tinted paper heightened with white. 
 
 No. 138—Bacchanalian Scene—-crowded composition of 
 many figures—panthers, elephants, etc. A highly finished 
 pen drawing in bistre, heightened with white on brown 
 paper. 
 
 Drawings by the Old Masters in the Library of 
 Christ Church, Oxford. 
 C’. F. Bell, Oxford, Clarendon Press, 1914 
 
 A Political Allegory D. 27 (Lely Collection) 
 
 Elevation of the ae 7 
 Plan of the Pantheon se 
 
 Section of the Pantheon 7 
 : : =2. 
 Section of vestibule, 
 
 and attributed to him, i.e. 
 
 A “Virgin and Infant Christ and Other Figures’—D. 28. 
 Holy Family, W. 4-5 and Virgin & Christ, W. 6. 
 
Bete Doews ARE MP BRUT Zl FA: 
 
 In the Sale of the Collection of Rev. Dr. Wellesley, 
 Principal of New Inn Hall, Oxford. 
 By Sotheby, London 
 
 No. 1440—Baldassare da Siena—“A female seated, a 
 book in one hand, a serpent in the other. Red chalk, 
 714 x 934 inches. 
 
 In “Drawings and Sketches’, Henry Reveley, Esq. 
 1820 
 Longman, Hurst & Rees, London 
 
 Page 35 notes a “Drawing in the Crozat Collection, of 
 “figures and a lion”, pen drawing washed and heightened. 
 
 Bridgewater House 
 
 “Adoration of the Magi.” 
 
 Collection of Dr. Mond, London 
 
 Berenson— “Portrait of Alberto Pio of Capri, A.D. 1512’— 
 
 (Braun photo.). 
 ROME 
 Painting—Designs 
 
 Fresco at Ostia, destroyed except “The Three Graces” 
 now in the Chigi Palace. (First or Early Style.) 
 Fresco—Two Chapels San Rocco-a-Ripa, Rome. (First 
 or Early Style.) (PI. 9). 
 Fresco in Apse of San Onofrio. (Early Style.) 
 Madonna, Child, St. John and Saint, Doria Gallery 
 CPL 86). 7 
 Holy Family by Peruzzi, belonging to Cav. Cavaceppi. 
 Vatican. A frescoed corridor for Pope Julius II., now 
 destroyed—Subject—Months and Seasons. 
 1529—Colossal figures of St. Antoine and St. Benone in 
 church of the Anima. (Destroyed ?) 
 
 Della Valle— 1528—F resco opposite church of San Salvatore in Lauro 
 
 (now destroved?), Sibyl Foretelling to the Emperor Au- 
 gustus the Birth of Christ (Pl. 68). 
 
78 
 
 Berenson— 
 
 Frizzoni— 
 Berenson— 
 
 Vasati-_— 
 and others. 
 
 Crowe & 
 
 Cavalcaselle— 
 
 Vasari 
 Venturi— 
 Berenson— 
 Letarouilly— 
 
 Vasari— 
 
 Vasari— 
 Ingres— 
 Griiner— 
 Letarouilly— 
 
 el EE TAINED Pe ORI Ss AC 
 
 Villa Albani—-“‘Madonna and Saints Lawrence and James 
 
 and Donor” (Early Style). 
 
 Historical paintings in Palazzo dei Conservatori in Cam- 
 podoglio, formerly attributed to Bonfigli and Alessandro 
 Botticelli, Sala IV., Judith—Roman ‘Triumph (Early 
 Style) Sala VII., Hannibal in Italy. 
 
 1500-9—Five mosaic ceilings in crypt of Santa Croce in 
 Gerusalemme. Our Saviour (centre). Four ovals at 
 Sides of Four Evangelists and above are The Making 
 of the Cross, Four Saints and kneeling figure of the 
 donor Cardinal’ Carvajal “(Fl 10). 
 
 Paintings on ceilings of Camera D’Eliodoro, Vatican, all 
 but one part which was finished by Raphael’s pupils. 
 Berenson says only the decorative portion, or framework. 
 (Early work.) 
 
 1511-18—At the Farnesina Villa, ‘Trastevere, exterior 
 decorations in “‘terretta’”’, now destroyed. Ceiling of Hall 
 and Head in black crayon in lunette, on ground floor 
 toward the Tiber, next to garden entrance Hall, or Hall 
 of Cupid and Psyche in Ist Story. (Second Style.) 
 
 Frescoes in room on ground floor toward Corsini palace. 
 Also Room I. in second story, views of Rome seen between 
 painted dark marble columns and above them a classic, 
 storied frieze. 
 
 1516—Fresco of the Ponzetti Chapel in S. M. della 
 Pace (Second Style), Madonna and Child and two 
 Saints and donor Ferrando Ponzetti (Pl. 33). 
 
 In same church “Presentation in the Temple,” for Filippo 
 Sergardi of Siena. (First Style.) “CPimeaae) 
 
 “Rape of the Sabines” now in Chigi Palace. (Second 
 
 Style. ) 
 
 Barrel vaulted ceiling in the Cancelleria palace with 
 penetrations of round arches, fresco of Creation, etc. See 
 Letarouilly. This room is at rear corner, first story 
 above street and looks out on Corso V. Emanuele and 
 on the rear garden. Figures and ornament on gold back- 
 ground. (Second Style.) 
 
-Moscioni— 
 
 Beate lv 
 
 Vasari— 
 Frizzoni— 
 
 Gruner— 
 
 Berenson— 
 Biographie 
 
 Universelle— 
 
 Berenson— 
 
 Lermolieff— 
 
 BALDASSARE PERUZZI 70 
 
 In chapel off of cloister of San Salvatore in Lauro, three 
 ceiling frescoes, Creation of Eve, the Temptation, and 
 Two Saints. The gesture of one figure in latter panel 
 recalls clearly that of the Sybil in Fontegiusta, Siena. 
 This chapel belongs to the Sodalizio dei Piceni of Rome. 
 (Second Style.) 
 
 Design, engraved, in grisaille of Hercules driving Ava- 
 rice laden with gold and silver vessels, from Mt. Par- 
 nassus, ‘The Muses being in fine and varied postures’, is 
 now in Biblioteca Corsiniana as a Wood Engraving on 
 three blocks signed “Bal. Sen.” and ‘Peruzzi.’ (Second 
 Style.) Beatrici also engraved this. 
 
 Fresco in Palace Poniatowski (later Giorgi) near the 
 Villa of Pope Julius. (Second Style) ; the ceiling of the 
 Salon vaulted with penetrations. Centre Panel, Queen 
 of Sheba visiting Solomon and arabesques in Pompeiian 
 style. Question as to how much Peruzzi had to do with 
 the design of the building itself, perhaps considerable. 
 (See Griiner. ) 
 
 Corsini Gallery—“Flight into Egypt.” 
 
 In church of Ara Coeli, Rome, frescoes or paintings in 
 the chapel of the Transfiguration, also painting on door 
 of the Sacristy. 
 
 Museo Christiano. Case S. VIII. “Marriage of St. 
 
 Catherine.” 
 
 Collection of Prince Hohenzollern of Sigmaringen, Ger- 
 many, a sketch of “Adoration of the Magi’, Tapestry 
 from it now in Vatican. Another version in England, 
 in Oxford University Collection, wrongly ascribed to 
 Raphael. 
 
 Venus from the Bath—painting in the Borghese Gallery, 
 Draperies added. (Second Style.) 
 
 DRAWINGS IN THE UFFIZI 
 
 Among the more important of the drawings of Peruzzi in the Uffizi 
 are designs for the “Mantellate di Santa Monica”, in the old market at 
 Siena; for the palace Del Monte for Count Ricci at Montepulciano built 
 in 1519, on the Duomo Piazza. Also a plan for the church of “S. Salva- 
 
80 DT ES ON De Ges pe 
 
 tore and Monastery” houses, etc., location unknown; for a fortified con- 
 struction at Castelnuovo della Berardegna near Siena; for candelabra and 
 canephorae; for a house for Bishop Venturini at Rapolano; for a house at 
 Castiglione della Pescaia for the heirs of Silvio Piccolomini, near Siena. 
 For S. Giovanni in Fiorentini, finally built by San Gallo; for Madonna della 
 Penna; for Santa Maria in Vallicella (called ‘Chiesa Nuova”) finally built 
 by others in 1580; for a palace for the Bishop of Amalfi; a palace for the 
 Cardinal of Capua; a very extensive and interesting palace for Conte di 
 Pitigliano (Orsini), on the ruins of the Baths of Agrippa of which design 
 Von Geymiller wrote a good monograph; for a house for Cardinal Cesarino; 
 the reconstruction of Santa Maria Libertatrice and its monastery, on the 
 ruins of Tempio dell’ Divo Augusto, Rome; a circular church to be built 
 near the Campodoglio on the ruins of an old edifice; for S. Giacomo in Au- 
 gusta, Corso, Rome (PI. 18); for the church of San Agostino at Monte 
 San Savino; fortifications for Chianciano, Sarteano (Val di Chiana), and a 
 Castello. Another drawing shows fortifications of “Tunis, and various other 
 North African cities near by, all of which are rich in suggestion and in- 
 spiration, and it may be that certain of the buildings and fortifications were 
 erected as planned and have been forgotten in their respective locations, al- . 
 though still standing. 
 
 RoME—ARCHITECTURE 
 
 Vasari— 1503-9—Part of Church of San Rocco-a-Ripa (Pl. 9). 
 
 Dictionary 
 
 “Ospedale dei Eretici Convertiti”, formerly the Palace 
 
 of Archi- Spinola, and “degli Eretici Ravveduti” near the piazza 
 tecture, by of St. Peters—both with Bramante—as was the ‘‘Casa de 
 Arch. Pub. Rafaello,” and Palace Vidoni (Giustiniani-Bandini) 
 Society, £507-O6C bled tos 
 
 London. 
 
 Vasari & Farnesina Villa, Casino, Loggia and Stables, in Traste- 
 
 Fabio Chigi 
 
 vere (Pl. 12-13). 1508-19. 
 
 Callan Church of San Eligio, Peruzzi and Raphael (PI. 21). 
 Matas— Casino for Pope Julius II., in Vatican, now destroyed. 
 Uffizi Portico of S. M. in Domnica, 1512 (Pl. 14). 
 Collection— 
 
 Larousse Palace Savelli (now Nugari) Nos. 11-12 Vicolo Savelli, 
 Dictionary— now much altered. See Callari’s “I Palazzi di Roma”, 
 
 P- 339- 
 
Percier & 
 
 Fontaine— 
 
 Letarouilly— 
 
 Larousse— 
 
 Serlio, 
 Uffizi and 
 private col- 
 lections— 
 
 Letarouilly & 
 Bice, 
 
 Letarouilly 
 
 Letarouilly— 
 Baedeker— 
 
 Vasari— 
 
 Letarouilly— 
 Lalande— 
 
 Letarouilly— 
 
 Letarouilly & 
 Griiner— 
 
 HAT ASSAR E OPERUGAZ I 81 
 
 Little Palace in Strada del Borgo Vecchio. Four win- 
 dows, ground floor and groined circular arched doorway. 
 Three stories high with groins at corners of building and 
 square attic windows. 
 
 Medici Palace in Via Giulia between church of San 
 Giovanni dei Fiorentini and Palace Sacchetti and next 
 to former Collegio Banderelli (Pl. 14-22). 
 
 Large part and especially the door of the Palace of the 
 Cardinal of Corneto, once Torlonia, now Giraud, on 
 Borgo Nuovo, piazza Scossacavalli. 
 
 Plan and numerous studies for St. Peter’s Church. 
 
 House in Strada de Chiavari at Piazza dei Satiri—mNum- 
 ber on Nolli’s ancient plan of Rome is ‘‘vers le No. 
 633.” Fine Staircase. Bas-reliefs in Court Walls. House 
 No. 5 Via Governo Vecchio. 
 
 Window and balcony of the Palace dei Convertendi on 
 Borgo Nuovo, beyond the piazza Scossacavalli. 
 
 1525—Ossoli Palace at Corner of Vicolo dei Balestrari 
 and Piazza Spada (PI. 15-16). 
 
 Ricciardi, or Costa Palace, Borgo Nuovo, also attributed 
 to San Gallo and Raphael, but a sketch in the Uffizi, 
 drawn by “Ciro Ferri, from Peruzzi’, would seem to 
 prove it Peruzzi’s design. First story rusticated. Flat 
 
 _ arches over windows and doors (Pl. 25). 
 
 1524-9—Tomb of Adrian VI., in S. M. Dell’Anima and 
 
 also the three entrance doors of this church. 
 
 Chigi Chapel (with Raphael) in S$. M. del Popolo (PI. 
 
 0), 
 
 House No. 7, Via di Parione and fine frescoes (Pl. 24). 
 
 1534.6—Palace Altemps, Piazza Fiametta, finished by 
 Martino Lunghi (Pl. 65). 
 
 Little Palace Altieri, Via Delfini XI. 9, with fine fres- 
 
 coed loggia on “piano nobile’’, in little court. 
 
82 
 
 Serlio— 
 Letarouilly— 
 Letarouilly— 
 
 Worthington 
 & C. W.— 
 
 Le Monnier’s 
 
 Edit. of Vasari. 
 
 Burckhardt. 
 Ufizi— 
 
 Vasari 
 and Others. 
 
 Frizzoni— 
 
 Miuntz— 
 
 LIER COA NDO aOR ae 8 
 
 Palace Orsini in ancient Theatre of Marcellus, and door- 
 way (Rivers 
 
 A house in Via Mortserrato VIII. 6. Motto on frieze of 
 doorway, “Trahit Sua Quemque Voluptas (Pl. 23). 
 
 Vigna di Papa Giulio on Via Flaminia (Pl. 27). 
 
 House next to Lante Palace, Piazza Caprettari, showing 
 pure Peruzzian details (Pl. 23) like Palace Ossoli. About 
 
 1525. 
 House No. 5 Via Governo Vecchio (PI. 23). 
 
 Church and convent of Santa Spirito: in Sassia, Tras- 
 tevere. Palazetto Spada in Via di Capo di Ferro (not 
 the Palazzo Spada) (Pl. 26). 
 
 Villa at Salone, 7% miles from Rome for Cardinal Tri- 
 
 vulzi, and frescoes therein (Pl. 17). 
 
 Massimi palace, 1532-7, for Pietro and Angelo Massimi 
 (Ely 77a 
 
 Chapel of the King of France, St. Peter’s. 
 
 Palace No. 35 Via Capelle. 
 
 PARIS 
 
 Drawings, etc. 
 
 In Louvre. “Triumph of a Roman Emperor”, (wrongly 
 attributed to Mantegna), reproduced by Marc Antonio 
 Raimondi, also “Madonna covering with a veil the sleep- 
 ing Infant Jesus.” 
 “Notice des Dessins Places Des Galleries du 
 Musee Royale au Louvre.’ Paris, 1841, 1.e., 
 
 Musee des Beaux Arts. Sketch of Nude Figures. 
 Catalogue— 
 
 No. 492—Sketch for “Presentation in the Temple,” pen 
 drawing in wash heightened with white. 
 
 No. 493—‘‘Adoration of the Magi,” pen drawing height- 
 ened with white. 
 
 No. 494—‘‘La Calomnie d’Appeles,” wash drawing 
 heightened with white. 
 
 No. 495—Decoration of an altar ornamented with pilas- 
 ters of the composite order—Pen and wash drawing. 
 No. 496—Five unknown personages. ‘This drawing is 
 
Morelli— 
 
 Morelli— 
 
 Berenson— 
 
 Bele DAS SAR E> PIOR WZ ZI 83 
 
 supposed to have been made from the decoration of a 
 hall in Siena which was part of the building of the Con- 
 sistorio. Pen and wash drawing. 
 
 No. 497—Project of a monument in honor of a Warrior. 
 Pen and wash drawing heightened with white. 
 
 No. 498—Composition “Allegorical.” (See Vasari’s ac- 
 count of Peruzzi). Pen and wash drawing in bistre. 
 (Collections Vasari and Mariette.) 
 
 Tauzia Catalogue—No. 1967—‘“Episode from Roman 
 History,” on screen in Room X, under name of Sodoma, 
 (wrongly). 
 
 Bibliotheque Nationale, Paris 
 Collection M.A. Armond 
 
 No. 4677. “Venus and Love,” a drawing. 
 No. 4678. “The Fall of Phaeton” and “The Judgment 
 
 of Paris,’ a design for a ceiling (Uffizi Collection). 
 Morelli thinks, however, this is by Sodoma. 
 
 Lyons 
 
 Painting of Young Medici prince as warrior with axe 
 —other two in Boston, Mass., Gardner Museum. 
 
 MONTPELLIER 
 
 Montpellier Gallery, No. 577—“A Bust of a Young 
 Man.” 
 
 "TURIN 
 
 Head. (Drawing in red and black crayon with features 
 and smile a la Raphael). No. 129. Room V. or VI. in 
 Regia Pinacoteca. 
 
 ING. 113i. Facade.” 
 
 In Palazzo Reale. “Design for High Altar of Duomo, 
 
 Brena. (.Lastrotyle.)) (Pl 73)) 
 
 “Architecture of Street” (Pl. 82). 
 
 BERLIN 
 
 Berlin Museum, “Charity.” Magazine, 93—“Annuncia- 
 tion.” (First Style.) 
 
84 
 
 Frizzoni— 
 
 Berenson— 
 
 Berenson— 
 
 Berenson— 
 
 Berenson— 
 
 Berenson 
 
 ET EPE ANDRE Serer 
 
 HaNnovER—GERMANY 
 
 “Tucretia Stabbing Herself.’”—Collection of Herr Kast- 
 ner. 
 
 DrESDEN—GERMANY 
 
 Study for Hercules. (Second Style.) No. 99. 
 “Adoration of Magi.” 
 
 MunlicH 
 
 Art Gallery, No. 1052—Portrait of Bindo Altoviti. 
 
 MUNSTER IN VV 
 
 No. 40-—‘‘Madonna and Infant St. John.” 
 
 VIENNA 
 
 Court Library. Square plan for Villa of the Farnese at 
 Caprarola. Others at Siena and Florence (Uffizi). In 
 the Albertina also, a design for ornamentation of apse of 
 the Duomo at Siena, also a Design for an Altar; below, 
 the Madonna standing in a niche, and four saints; above 
 ‘The Eternal Father surrounded by angels. 
 
 Boston, Mass. 
 
 1505-10—In Gardner Museum. ‘Iwo paintings of 
 Medici princes as young warriors. 
 
 Museum of Fine Arts (In storage). Paintings on two 
 small wooden doors of Saints, Sebastian, Christopher, 
 Rocca and Anthony, Abbot. Loaned by Prof. ‘Thomas 
 Whittemore—Sebastian’s face is in a “Perugino Man- 
 ner.” ‘These are probably the doors Peruzzi painted at 
 Cerreto-Ciampoli, mentioned by Della Vale. 
 
 Nrw YORK” Nol Y.-—U sore 
 
 Metropolitan Museum of Fine Arts. Five sketches, 
 architectural details and figures. 
 
 Early study for the fresco in Fontegiusta, Siena. (Last 
 Style.) (Pl. 68.) ‘Triumph of a Roman Emperor. (Sec- 
 
Professor 
 Elia 
 Volpi 
 
 go AN SAL ERR ZZ, Lf 85 
 
 ond Style.) (PI. 32.) and “Continence of Scipio.” See 
 “Madrid” (No. 574). 
 
 Four sketches in possession of Lawrence Grant White, 
 sanwie. UL jer planionr oc eters) (Pl. 43); (2) An- 
 other plan with letters like Peruzzi’s, but embodying 
 Michel Angelo’s later executed design with a different 
 nave (Pl. 43). Across the front wall of plan No. 2, 
 is lettered “Il tuto dela muro della fallaia’(?), palmi 
 292. (3) Two other drawings bearing Peruzzi’s name. 
 (4) One other lettered on back ‘“Prospettiva della Bo- 
 logna” and below it “Vaticano.” 
 
 For further details of his sketches in the Uffizi Collection 
 and a complete list, see Milanesi’s catalogue and the Uffizi 
 “Indice Geografico Analitico dei Disegni, etc., Roma, 
 1895. 
 
 ates OUIs alos we S.A 
 
 1510-12—Portrait of Peruzzi in oil by himself (Front- 
 ispiece). Owned by Jackson Johnson Esq. 
 
PLATE I 
 
 oy 
 
 vey 
 
 # 
 ca’ 
 tte, 
 
 Rtaras 
 a0thes 
 tees 
 
 as 
 a 
 
 a 
 os 
 
 Siena in 1500 
 “TApparita,” near Siena 
 
Ry 
 
 ial 
 
PUATE:2 
 
 Cs 
 
 # 
 
 4 
 
 WAL pp 
 
 “ 
 
 oe 
 
 * 
 
 From Peruzzi’s Sketch Book—Siena 
 
i 
 
 7 
 
The Doorway of Fonte Giusta—Siena, 1489 
 By Francesco di Giorgio 
 
4 
 
 ATE 
 
 PE 
 
 Ag 
 
 SEL 
 
 MEST oa ad 
 
 = 
 
 ‘ = = 
 Bsa t6GSey 
 
 yy, 
 
 Candelabra Sketches by Peruzzi—Ufhzi 
 
i 
 Ey 
 | 
 
 cis 
 
 Sketch 
 
 of Roman Remains—U ffizi 
 
} 
 + 
 
PLATE 6 
 
 BUdTS 
 
 eyetdajeA IA Ul OURTSeEqag URS 
 
 (UMBIP-dy ) 
 (29) 
 WAFER ORIN 
 
BLATT ES 
 
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 oy ge eZ aes 
 
 < 
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 — = 5 sey 
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 Villa Chigi or “Le Volte,” and Rear View—Now Villa Mieli—Near Siena 
 
a 
 
PLATE $ 
 
 SoS1r ‘euals 
 
 TeaN— (TPA 
 
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 Mosaic, Ceiling, Crypt S$. Gerusalemme—Rome 
 
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PUATE 12 
 
 IWIOY—AIIAIISEA TL 
 
 ‘QoR[eq BUISIUIL 
 
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IWOY—IIV[ Vg VUISIUILY 3} JO ad1UIOD puUeR dzdIIY 
 
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 PLATE 15 
 
 caine Nant 
 
 Ossoli Palace—Rome 
 
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PLATE 17 
 
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 Villa at Salone 
 
a iJ 
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ATE 18 
 
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 (S19}9q "39) 
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 BISNSNY Ul OULODRIL) “Gg IOF YD}I¥S 
 
PLATE 19 
 
 ewoy—o]odog [ap ‘J ‘Ss Jedeug 
 
 ISIYD 
 
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20 
 
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 BUIIG—}YSII 0} 
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 Apnis 
 
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 "OUT}BI} OAOSSIA [I,, IOF JadeyD 
 
 —,o1ouid 3}Ju0u Uy, | 
 
PATE 21 
 
 S. Eligio—Rome 
 
PLATE 22 
 
 FI a}e[q 298 ,{Y,, 10op 104 (‘JOO IzyjQ) USIsep Sizzniaq Wo} OIsOg Aq Ue[q 
 
 oe 
 
 ‘ued uo (g,, 1aAO JATIOJ, URIPKT[ed ‘IWOY—INIDH VIA UI dK eq DIpa|l 
 
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 & 
 
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 os ae) 
 
 > 
 
 wy ova Ay nerd we 
 
hye 
 
Montserrato 
 he Lante on 
 
 In Via 
 joining t 
 
 Palace ad 
 
 ini 
 
 House 5, Governo Vecchio 
 Ors Palace—Rome 
 
 i—Rome 
 
 Piazza Caprettar 
 
Cola 
 reat 
 = a. 
 
 ” 
 Pay 
 
EVATE 4 
 
 Ceiling in Palace Montalto No. 7 Via Parione—Rome 
 
w 
 
PRATER 25 
 
 I 
 
 steekis an nr anne’ 
 
 ti Meszseccasssese## 
 
 ‘fA 
 
 ae 
 
 Costa Palace, Borgo Nuovo—Rome 
 
 Attributed variously to Pe1 
 
 , Raphael and San Gallo 
 
 . 
 
 [uUZZ1 
 
PLATE 26 
 
 Palazetto Spada—Rome 
 
PUA ee 27 
 
 3WO 
 
 Ye rue | 
 
 BIA— TIT sntjnf{ adog jo eusi, 
 
+ 
 et 
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 * 
 
PLATE 28 
 
 The Plan and Exterior of the Duomo at Carpi 
 
PEATEY29 
 
 ee 
 
 Basilica e Convento di S. Nicolé 
 
 Basilica and Convent di S. Nicolo—Carpi 
 
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 owon(d JIP[O ay J, 
 
PLATE S31 
 
 i 
 
 ”__Carp 
 
 “La Sagra 
 
 le and 
 
 The Campani 
 
 The Arcade or “High Portico”—Carpi 
 
PPA TE: 32 
 
 Console design 
 Triumph of a Roman Emperor (Vespasian?) 
 Sketches by Peruzzi, in New York Metropolitan Museum of Art 
 
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PRUATE: 3 3 
 
 Fresco in Ponzetti Chapel, Santa Maria della Pace—Rome 
 
PLATE 34 
 
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 ajduia fy, ay} Ul UOTeUASaTg ay] 
 
PLATE 35 
 
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 IZZnIdq Aq auadg 991} AUD B OF UBISAG 
 
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PLATE 36 
 
 Ol[tag Wo1y—oawoy ‘s.19}aq IG IOF UR S,izzn19g 
 
 IpO[—euoIzejosuo) eI]aIp "J ‘Ss 
 
& 
 
PLATE 87 
 
 Pantheonic Church Plans. Possibly studies for St. Peter’s, Rome. From Peruzzi’s 
 sketches in the Uffizi—Florence 
 
@ 
 
PLATE 38 
 
 (iat) = ewWod eo yiper usioue: Mee s0 (Izzndag)—IZIj() Ul IW ax] Ue[d—~e 
 
 suInI UO orsopidwuey ayy, Ivou “YoInyD JOF ueld eusojog ‘osruawmiog “¢ ‘jadeyD IpreypIstyg—ti 
 
 ba § 20 we amish vs 30. 
 
 an 
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PLATE 40 
 
 ; 
 
 ce caviggerigs omen oneonaesnapa 
 
 scot geaanoatvinre nse ASNT RIAN 
 
 Various Studies by Peruzzi for St. Peter’s, etc.—( Uffizi) 
 
LATE 4I 
 
 P 
 
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 1ajag ‘1$ Alqeqor 
 
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 Izy) sue[d yornyD 
 
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UONII{[OD YAK WRI, IUTIMET - 
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PrATE 44 
 
 9 apes 6 os b ; SEN ae 2 - 
 i y phir re ‘ A ae . ANS : ; : sige pet 
 
 Peruzzi’s Design for Front of S. Petronio, Bologna. From Stegman & Von 
 Geymiller’s “Di Architektur der Renaissance in Toscana”—F. Bruckman, Min- 
 chen, and Architectural Book Publishing Co., New York 
 
=* ° ' 1 
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A—Well at Villa Vicobello 
 B—Court_at Villa Celsa 
 C—Garden at Villa Vicobello 
 D—Candelabra by Peruzzi—(Ufhizi Coll.) 
 
i BS[IQ PIJIA—]edeyO BUdsIS—eI[[OWRD vI0g euso[og—eial][eH ‘J ‘S JO Ie] ye 100q 
 
a 
 
UATE a4 7 
 
 Albergati Palace—Bologna 
 
i 
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PLATE 48 
 
 vusojog—iusedwoou0g ave ‘pivdAjinoj—z 
 vusojoqg—iusedwoou0g dadovjedg ‘0ueI}Uq—I 
 
= 
 
BGS 
 
 Bologna 
 
 , formerly Monari— 
 
 ioresi 
 
 F 
 
 Palace 
 
F 
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PLATE; 50 
 
 vuso[og—oaoe|edg 
 
 o1qnd Ul MOpUrAA 
 
 euso[og—aor[eg o1[qng ‘o}VIss0'T 
 
 ceerooot aR 
 
 - 
 
 UL 
 
SS2 See as aS ae 
 
 Sh 
 
 Ras 
 
 ab 
 
 S. Michele in Bosco—Bologna. 
 
 f same 
 
 1ew oO 
 
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 rspective v 
 
 Smaller pe 
 
 the door open 
 
 7 
 
 Doorway. 
 
 ing 
 
 set in 
 
42 
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PLATE 52 
 
 ee 2 A a ok et ee 
 DS nanwenme ae eee 
 
 Bus! 
 
 Smpoleas 
 
 hed do 
 
 ydsoy 
 
 ‘BUTTIID 
 
nine 
 
eusIg—owong UI 
 
 ase UPSIO 
 
a 
 
 az 
 
PLATE 54 
 
 vudsIg—PI][OWeD) v}IIOg aprsjno jadeyD 
 
BLATESSS 
 
 C Peipyoenge T6Me b fg ‘ 
 Seene GUE fore 4 bole jens 
 
 ae OE 9s ee | 
 
 “ Ee: 
 sit 
 : Sees se Rt af. WA Ss og 
 : on) = fore ht Cordieng corde ne Ff 
 oe (an Hp is 
 
 é 
 et p08 ibgsane 4 “Guerde nt 
 ” ie ansbihe ria open 
 
 ae wee 6 ot AB hem, Prt weeny dike Comaaseor? 
 ene ih metre maine Bd mts Allaye 9: tm 
 Le ie cea \sereloges Re ee oe Beis ae j 
 
 se ? eggs eee 3 
 preppy oe Nine eg ain Sal Condene Oa oe. Sou yas sevens We adlesae 5 Sehtne slower she a a 
 
 oe send ssseepnae a regent get pe eat le 
 . : : 
 
 “adlnpcioe ons ae ee 
 be ak be pint Span porte aide 
 a B gece. as Gi “4 ate << 
 
 fot ae om = 
 
 Yow tot 
 Salata (ats ok Cavilént” See EEE 
 
 Pee | 4 * 
 i Cat a 
 
 Mocenni or Francesconi Palace, Via Cavour—Siena 
 Peruzzi’s Study for a Castello—( Uffizi) 
 
~ 
 : 
 
PLATE 56 
 
 Court of St. Catherine’s House—Siena 
 
ae 
 
 ’ 
 
 See alten ae oe ett 
 
PLATE 57 
 
 BUudTg—osSnopP{ uM() S IZZN1I9q 
 
 a 
 c 
 be 
 be: 
 
 BUIIGS—IZZNIag aiussepleg eid Ve ‘ON asnopP 
 
os 
 
 ay 
 
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PLATE 58 
 
 Cloister of San Martino—Siena 
 
7" . * : - 
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 b ma Mai ; i t 
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 BUOI 
 
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PLATE 60 
 
 Siena 
 
 San Giuseppe 
 
Te 
 
 » 
 
PLATE 61 
 
 Villa Santa Columba—Near Sienna 
 
"a 
 
PLATE 62 
 
 IUBIIBJAY OT10}IA ‘Jorg Aq 
 
 pe10}say 
 
 ‘BUdIg IBdU 
 
 ‘es[ay BTIIA 
 
PLATE 63 
 
 Panteone di Pontremoli or Santa Elisabetta—Viterbo 
 
7 
 
LanoD Nado- 
 
 TOO D Nado- 
 
 a 
 * 
 
 ei me 
 
 a led: 
 
 ippa. 
 
 ), on the Ruins of the Baths of Agr 
 
 ini 
 
 liano (Ors 
 
 itig 
 
 Peruzzi’s Plan for Palace for Conte di 
 
 Uffizi Collection) 
 
 om 
 
 (Fr 
 
 Behind the Pantheon—Rome. 
 
5 
 
 PLATE. O 
 
 a 
 
 Bes 
 
 Altemps Palace—Rome 
 
PLATE 66 
 
 Kes 
 
 — 
 si 
 SS 
 
 even esa 
 
 ss 
 
 ar aS 
 
 Me 
 
 %. 
 
 Bl 
 
 Mi 
 
 Rh BANAG AAMAS AAR ARRAN 
 $3 
 
 Pollini Pallice-—Siena. Sketch by Claude Bragdon in “Minor Palaces of Italy” 
 Courtesy of The Cutler Co. 
 Above, Fresco “Adoration of the Mag?” 
 
PLATE 67 
 
 Se 
 t 
 hk 
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 ‘SECTION: 
 
 ae 
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 ER:.WINDOWS- 
 
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 4 
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 KR “, 
 1 ko 
 
 OF TRAVERTINE- 
 
 ‘MIDDL 
 
 ‘LOWEK: 
 STPINCCOCY IRE. . 
 “91 KI NGCOURSE 
 OF BRICK —TEAVERTINE ENDS, 
 
 Pa 
 
 CORNICE ~ | 
 
 ee a eee 
 SECTION: 
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 xs 
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 LT EE BL eee | - 
 
 q 2 
 
 8 
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 47 
 Se, Vix 
 ABOVE ° ae 
 
 : i 
 
 sondern 
 
 ACE» SIENA*}-- 32° ~-4 
 
 Details of Pollini Palace—Siena 
 By Prof. Vittorio Mariani and W. W. Kent and W. H. Kilham 
 
PLATE 68 
 
 a ne ee 
 
 Sketch in New York Metropolitan Museum of Art by Peruzzi. Signed “Petruccio da Siena.” 
 “Sibyl foretelling the Birth of Christ to Emperor Augustus” 
 
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PLATE 69 
 
 Church of the Servi (S. Giovanni in Pantaneto)—Siena 
 
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PLATE. 70 
 
 Tower, Carmine Church—Siena 
 
i 
 
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PLATE 7I 
 
 BUdIS—oUIWItDY aq} Fo YOInyD ‘Ia}sto0[D 
 
% 
 
PLATE 2 
 
 sorpnys 
 
 suIOJ UoTseg Jo Izzn1aq Aq suvjd eI[IA “BoNRJoU puR I IOs 
 
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 IZZ019 
 
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 d ‘(zug )—ueld s’q ‘g pue ‘pjoreidedg ye ,,e000Y,, 10 BIIIA 
 
PLATE 73 
 
 Ecce ieee: om ise 
 
 Be ees ren SNCS. 
 
 asebbion 
 
 : 
 
 Sketch for High Altar in Duomo—Siena 
 
PLATE 74 
 
 Trilingo J8 
 Sale : oes 
 
 Villa Belcaro, near Siena—(Uffizi). Peruzzi’s sketch plan and fresco “Judgement of Paris” 
 
1 
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 oa 
 
Villa Belcaro (Courtyard)—Near Siena 
 
@ 
 
PEATE. 76 
 
 State 
 
 Tree, 
 
 5, a 2 
 ror eed 
 2 
 
 iad 
 
 ane eC x : asyaineniah 
 
 Ceiling of the Loggia, Villa Belcaro—Near Siena 
 
+ 
 
 zy 
 
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 “Sanrek <- es ny 
 
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PLATE 77 
 
 ! 
 
 Caedeyae aE 
 
 “opILuo0d 
 
 AIANNeWS -O1AOLLIA O86, 
 
 2s. 
 o> BE=4, O37 
 ——eeee ° a a VEN CNY 
 
 aU ung “4 OULAId UO 
 
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 N¥ 1d TANIA 
 
 13 
 
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 all 
 
 UULULUA AM baggy, 
 
 ata 
 
 LLL LLL 
 
 “LUAOD ATO: 
 
 | & 
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 “ADV Ted i ee 
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 me 
 
PLATE 78 
 
 4; 
 
 a} 
 
 4 
 
 ‘4 
 “4 
 
 aa3 
 rig) 
 
 Palace of Pietro Massimo 
 (Above) Ceiling of small room in same 
 
“ 
 
 ~ 
 
OUISSEJ, O1JIIG JO ddV[eG—OO}IOg JO SBUI[Ia puke pRayIood asULIUY 1OF YAS 
 
 ~ 
 
 oe TAaad 
 
” 
 
PLATE 80 
 
 per ian tani ei 
 
 Sketch (Uffizi). Suggesting the Fresco on Soffete of Arch of Chapel at Villa Belcaro—Siena 
 Bust of Peruzzi by Dupré, 1853. Accademia Delle Belle Arti—Siena 
 
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PLATE 81 
 
 A—Ancient Altar, Sketch by Peruzzi—(Ufhzi) 
 
 B—Terra-Cotta. Pianternero or Papal Insignia of Julius II. Della Rovere—in ceiling, 
 at Casala della Magliana, near Rome 
 
 C—Canephorae by Peruzzi—(Ufhzi) 
 
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ATE 82 
 
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 Ancient Roman Street Scene for a Play 
 
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 One of Peruzzi’s Plans for San Domenico—Siena 
 
PEATE. 85 
 
 Palace in Banchi Vecchi—Rome. Attributed to Peruzzi and to A. Sangallo 
 
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 89 
 
 Palace of Pietro Massimo—Rome 
 
 Ceiling of second-story Loggetta. 
 
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