Lives of the Most Excellent Painters, Sculptors, and Architects/Baldassare Peruzzi of Siena

by Giorgio Vasari

 

THE PAINTER AND ARCHITECT, BALDASSARE PERUZZI, OF SIENA.

[born 1480—died 1536.]

Among all the gifts which Heaven confers on mortals, there is none which can be or justly ought to be held in higher esteem than elevation of the mind, with quiet and peace of soul; for by the first man is rendered immortal, and with the second he may truly be accounted blessed. He then who is thus endowed should not only render great and perpetual thankfulness to God, but is bound to show himself among his fellow men, as it were a light amidst darkness, and so it is that in our own times we have seen done by the Sienese painter and architect, Baldasare Peruzzi. Of him it may truly be affirmed, that the modesty and goodness so beautifully exemplified in his life, were possessed to such a degree, as to form no mean part of that supreme tranquillity and peace of mind, for which all men who think must needs sigh, and towards which all should constantly aspire; while the works which he has left to us are manifest and honourable fruits of that true genius, which was breathed into his mind by Heaven itself.

I have called him above, Baldassare of Siena, because he was always considered a Sienese, but I will not omit to mention, that as seven cities contended for Homer, each desiring to claim him for her citizen, so have three most noble cities of Tuscany, Florence, Volterra, and Siena, namely, all maintained, each for herself, that Baldassare was cf the number of her sons.^[1] But to tell all the truth of this matter, every one of them has part in him, seeing that at the time when Florence was distracted by wars, the father of Baldassare, Antonio Peruzzi, a noble citizen of Florence, changed his abode, in the hope of living more quietly, and went to dwell in Volterra. Having remained there a certain number of years, he then took a wife in that city; this happened in the year 1482,^[2] and in a few years, two ehildren were born to him; one, a boy, called Baldassare; the other a girl, named Virginia. Noav it chanced, that while thus desiring only peace and quiet, Antonio was nevertheless pursued by the evils of war; Yolterra being sacked, he was compelled to take refuge in Siena, and there, having lost nearly all that he possessed, he found himself reduced to live in a somewhat poor fashion.

Baldassare, meanwhile, was increasing in stature, and early gave token of the pleasure he found in the society of good and distinguished men; more especially delighting to frequent the workshops of the goldsmiths and others, who practised the arts of design. Wherefore, eventually finding these arts please him, he gave all his attention to drawing, and his father dying about that period, Baldassare devoted himself to the study of painting with so much zeal, that in a very short time he made the most extraordinary progress. Copying and imitating the works of the best masters, he yet gave his principal attention to nature and living objects, and thus early acquiring some little gain by his art, he found means to support himself while he aided his mother and sister, pursuing his studies in painting at the same time.

Among the first works of Baldassare (omitting to mention some few performed in Siena, which do not require more particular notice), was a small chapel near the Florentine Gate of Yolterra; here he painted certain figures with infinite grace, and these were the cause of a friendship which he contracted with the painter Piero of Yolterra, who dwelt for the most part in Rome, where he was employed in the execution of various works in the papal Palace, for Pope Alessandro YI. Baldassare consequently repaired with Piero to Rome, but Alessandro being dead, and Piero no longer finding employment in the Palace, Baldassare placed himself in the workshop of the father of Maturino,^[3] a painter of no great excellence, but who, at that period, was nevertheless much employed in the more ordinary labours of our avocation, and had always many works on hand.

This artist, therefore, having placed before Baldassare a panel, the ground of which had been duly prepared, bade him paint thereon a figure of Our Lady, but without giving him a cartoon or design of any kind. Baldassare, nevertheless, having taken a piece of chalk, in a moment and with great ability, designed such a figure as he proposed to paint, and having shortly after taken the colours in hand, in a few days he produced a picture so beautiful and so admirably finished, that he caused astonishment, not only in the master of the bottega or workshop, but also in many painters who saw the work and at once perceived its merit. These artists, therefore, procured for Baldassare a commission to paint the chapel of the High Altar in the church of Sant’ Onofrio, and this work he executed in fresco in a very beautiful manner, and with infinite grace.^[4]

Having finished his undertakng in the chapel of Sant’ Onofrio, our artist next painted two small chapels in the church of San Rocco-a -Ripa, whereupon, being now in considerable credit, he was invited to Ostia, where he decorated certain apartments in the tower of the fortress, with very beautifully executed historical representations in chiaro-scuro. Among these are more particularly to be mentioned one of those hand to hand combats, in the manner customary among the ancients; with a body of soldiers also, the latter proceeding to attack a fort. In this last the bold and prompt action of the warriors is particularly to be observed; covered with their shields, they advance the scaling ladders which the assailants are placing against the walls, while those within repulse them with fearful rage; there are also numerous instruments of war in this story, of the fashion used in ancient times, with armour of similar character. Baldassare likewise painted many other stories in one of the halls of that fortress, and these are held to be among his best works; but it must be observed that he was assisted in their execution by Cesare of Milan.^[5] On the completion of these labours Baldassare returned to Home, where he contracted a most intimate friendship with Agostino Chigi of Siena, who received him to his intimacy not only because Baldassare considered himself a Sienese, but also because Agostino was by nature the friend of all distinguished men. With the assistance of such a man as Agostino Chigi, Baldassare found means to afford himself leisure for remaining during some time in Rome, occupied solely with the study and examination of the antiquities, but more particularly of those relating to architecture. In this vocation, emulous of Bramante, Baldassare made extraordinary progress in a very short time, which was afterwards, as we shall relate in due course, the cause of very great honour as well as profit to him: he gave considerable attention to the study of perspective also, and became so highly distinguished by his attainments therein, that very few who have laboured in our times can be named as his equals; the effect of this acquirement may be clearly perceived in all his works.

Pope Julius II. meanwhile, having built a corridor to his palace, with an aviary almost at the level of the roof, Baldassare was commissioned to depict all the months of the year therein; with the occupations proper to each month throughout the year: in this series of paintings, which is in chiaro-scuro, we have innumerable edifices, theatres, amphitheatres, palaces, and other buildings, all showing admirable invention, and each occupying an appropriate position in the work.^[6] Baldassare painted several apartments in the palace of San Giorgio, for the Cardinal Raffaello Riario, Bishop of Ostia; this he did in company with other painters. On a façade which is opposite to the palace of Messer Ulisse da Fano, this master also executed various paintings; as he did on that of Messer Ulisse’s own house, whereon he delineated stories from the life of Ulysses, and by this work he greatly increased his name and reputation.

But still higher was the glory which he obtained for the model of a palace, prepared for Agostino Chigi,^[7] and which he executed in the graceful manner we now see. This edifice should rather be described as a thing born, than as one merely built: the exterior decorations are in terretta, and exhibit very beautiful historical representations, executed by Baldassare with his own hand. The hall of this palace is also adorned by this master, who painted columns in perspective therein, the depth of the intercolumniation causing it to appear much larger than it really is. But the most remarkable part of this work, and a subject of deserved admiration, is the Loggia of the garden, wherein Baldassare has painted stories representing Medusa turning men into stone, and than wliich nothing more beautiful could possibly be imagined; near this we have Perseus striking olF the head of the monster, with other paintings in the angles of the ceiling. The decorations of this Loggia are painted in perspective to imitate stucco-work, and this is done so perfectly with the colours, that even experienced artists have taken them to be works in relief. I remember that the Cavalier Tizian, a most excellent and renowned painter, whom I conducted to see these works, could by no means be persuaded that they were painted, and remained in astonishment, when on changing his point of view he perceived that they were so.^[8]

In the same palace there are certain paintings executed by J"ra Sebastiano Veneziano,^[9] in his first manner; and by the hand of the divine RalFaello there is the Galatea carried off by Marine Deities, as we have before said.

Between the Campo di Fiore and the Piazza Giudea, Baldassare painted a fagade in terretta, which is most exquisitely beautiful, the views in perspective being truly admirable; this he did, receiving a commission to that effect from one of the Pope’s Chamberlains, but the palace is now in the possession of the Florentine Jacopo Strozzi. In the church of the Pace, this master likewise painted a chapel for Messer Ferrando Pozetti, who was afterwards made a Cardinal; this is on the right of the entrance to the church; the subjects chosen are events from the Old Testament, the figures of which are small; but there are besides, other figures, which are of considerable size; the whole work is in fresco, and is executed with much care. But even more remarkably has Baldassare shown the extent of his ability in painting and perspective, by certain pictures in the same church and near the high altar, where he depicted a story for Messer Filippo da Siena, one of the Clerks of the Chamber, representing Our Lady ascending the steps of the Temple, and about to enter that edifice. In this picture there are many figures highly worthy of praise; among others, that of a noble personage arrayed in the ancient manner, and who, descending from his horse, while his servants wait around, presents alms to a poor wretched beggar, totally naked and grievously attenuated, who appears to be entreating charity with the most eager importunity.^[10] In this work, also, there is a great variety of buildings, with many very beautiful ornaments of different kinds; the painting, which is in fresco, counterfeits, in like manner with that above-mentioned, decorations in stucco, which go entirely around the whole, and it furthermore appears to be affixed to the wall by means of large nails, as if it were a panel painted in oil.

Among the magnificent preparations made by the Koman people to receive the Duke Giuliano de^ Medici, when the baton of a Commander was conferred on him by Holy Church, were six historical representations, in as many pictures, executed by six different painters, who were all artists of eminence. One of these was by the hand of Baldassare; it was seven canne^[11] high, and three and a half broad, the subject chosen, being the betrayal of the Homans by Julia Tarpeia; and this was acknowledged to be, without doubt, the best of them all. But that which awakened astonishment in every beholder was the perspective view or scene which this master prepared for a Theatre, and which was so beautiful that nothing better could possibly be imagined. Such, indeed, were the variety and admirable manner of the buildings, the beauty of the loggie, the fancy exhibited in the doors and windows, the rich arrangement of all the other architectural details, with the remarkable judgment and extraordinary power of invention manifest throughout the whole work, that it would not be possible to describe the thousandth part.

For Messer Francesco da Norcia, Baldassare designed a portal of the Doric order, which was an exceedingly graceful composition: this the master erected in the house of Messer Francesco, which is on the Piazza of the Farnesi. He also painted a very beautiful façade, near the Piazzi degli Altieri, for Messer Francesco Buzio,^[12] depicting on the frieze, from the life, all the Cardinals who were then living; while on the wall itself he executed historical scenes, which represented the Csesars receiving tribute from all the kingdoms of the world; above these stories our artist painted the twelve Emperors, placed on corbels; they are foreshortened with much judgment, and executed with remarkable ability; for the whole work, indeed, the master well merits the highest praise. Baldassare, furthermore, painted an Escutcheon, exhibiting the Arms of Pope Leo X., near the Banchi, with three Boys as supporters. This is in fresco, and the flesh of the children is painted with so much softness, that they seem to be alive.

For Fra Mariano Fetti, Frate of the Piombo, this master painted a San Bernardo in terretta; this flgure, which is one of great beauty, was executed for the Garden of Monte Cavallo. For the Brotherhood of Santa Caterina of Siena, whose house is in the Strada Giulia, Baldassare painted an exceedingly beautiful Bier, for the removal of the dead to the place of their burial, with many other works, all of which are worthy of commendation.

In Siena, Baldassare Peruzzi prepared the design for the Organ which is in the church of the Carmine; and he likewise executed some other works in that city, but they were not of any great importance.^[13]

Being subsequently invited to Bologna by the wardens of works to the church of San Petronio, to the end that he might prepare a model for the fa9ade of that edifice, he designed two large ground plans, with elevations and sections, one in the modern manner, the other in that of the Teutonic nations. This work is still preserved in the Sacristy of San Petronio^[14] as an extraordinary production, the master having drawn the building in perspective, after such sort that the fabric appears to be in relief. In the same city there are a vast number of designs by this artist, which he made in the house of the Count Giovanni Battista Bentivogli, for the above-named church, and which are so beautiful that it would not be possible adequately to extol their merit, more especially when we consider the wonderful and admirable inventions worked out by this master, in his wish to avoid the destruction of the old building, and in the endeavour to conjoin the new part with just and fair proportion to what remained of the old. For the Count Battista above-named, Baldassare made a design in chiaro-scuro, representing the Nativity of Christ and the Adoration of the Magi:^[15] the horses, chariots, and all else belonging to the Courts of the Three Kings are wonderful to behold; with such admirable grace and beauty are they depicted, as are also the architectural details of the temples and other buildings, by which the cabin is surrounded. The Count caused that work to be subsequently coloured by Girolamo Trevigi, who performed his part to great perfection.^[16]

The design for the portal of the church of San Michele in Bosco, a very beautiful monastery outside Bologna, which belongs to the Monks of Monte 01iveto,^[17] was prepared by this master; as were also the design and model for the Cathedral of Carpi, which was exceedingly beautiful; the structure was built under the direction of Baldassare, and according to the rules laid down by Vitruvius. In the same city our artist commenced the church of San Niccolo; but this building was not completed at that time, the master having been almost compelled to return to Siena, whither he was summoned to prepare designs for the fortifications of the city, and those defences were then constructed under his direction.

This undertaking being completed, Baldassare once more repaired to Rome, where he built a house opposite to the Farnese Palace, with others in the centre of the city. He was also employed on many occasions by Pope Leo X., more particularly when that Pontiff, desiring to bring the church of San Pietro, which had been commenced by Julius II. after the design of Bramante, to a conclusion, and finding the edifice too large, resolved to have a new model constructed. His Holiness was of opinion, that the various parts of that vast fabric were not in harmony with each other; wherefore he committed the work to Baldassare, who prepared a new model, which is truly ingenious, and of very magnificent character; it gives proof of so much judgment also, that succeeding architects have frequently availed themselves of many parts thereof.^[18] Diligent and judicious, this master brought his works so successfully to completion, that he may truly be said never to have had his equal in architecture, and this principally because he combined with his knowledge of that art, so beautiful and admirable a manner in painting and decoration. The design for the tomb of Pope Adrian VI., was given by Baldassare, and the paintings around it are also by his hand, but the marble work of the sepulchre was executed by the Sienese sculptor, Michelagnolo, assisted only by Peruzzi.^[19]

When the Calandra, a drama written by the Cardinal di Bibiena, was performed before Pope Leo, Baldassare prepared all the scenic arrangements 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; and his labours of this kind deserve all the more praise from the fact that these performances of the theatre, and consequently all required for their representation, 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, which were surprisingly beautiful, and opened the way to those of a similar kind, which have been made in our own day. Now it appears to me difficult even to imagine how this artist has found it possible, within the closely limited space to which he was restricted, how he has found it possible, I say, to exhibit such a variety of objects as he has depicted, such a number of streets, palaces, temples, loggie, and fanciful erections of all kinds, with cornices and ornaments of every sort, so perfectly represented that they do not look like things feigned, but are as the living reality: neither does the piazza, which is the site of all these edifices, appear to be, as it is, a narrow space merely painted, but looks entirely real and of noble extent. In the arrangement of the lights also, Baldassare showed equal ability, in those of the interior, which are designed to enhance the effect of the views in perspective, more especially; every other requisite, demanded for the occasion was added with similar judgment; and this is the more remarkable, because the habit of preparing such things had, as I have said, been totally lost. This kind of entertainment is nevertheless superior in my opinion to those of every other character, when it has all the appliances required for its perfection, surpassing them all by very far, however sumptuous and magnificent they may be.

In the year 1524, Clement VII. was elected Pope, when Baldassare made the preparations for his coronation. The fagade of the principal chapel also, which had been commenced by Bramante, was completed by Baldassare, who constructed it in Peperino marble. In the Chapel wherein the bronze monument of Pope Sixtus is placed, this master painted in chiaro-scuro the Apostles, which are in the niches behind the altar; he likewise gave the design for the tabernacle of the sacrament, which is a very graceful work.^[20]

Then came the deplorable sack and plunder of Rome, in the year 1527, and the unfortunate Baldassare was made prisoner by the Spaniards; when not only did he lose all that he possessed, but he was also grievously maltreated and tormented by them: for it so chanced that Baldassare, being a man of a noble, grave, and commanding aspect, was believed by them to be some great prelate or other man of high rank in disguise, and one who could pay an enormous ransom. Finally, however, those most impious barbarians discovered that he was indeed a painter, and one of them, who was a devoted adherent of the Constable de Bourbon, compelled our artist to take the portrait of that reprobate commander, the enemy of God and of all good men; either by showing him his corpse, dead as he was, or by some other means, perhaps by giving him drawings of the face or describing it in words: enough, they compelled him to make the portrait.

Having escaped at length from the hands of the Spaniards, Baldassare took ship to go to Porta Escole, proposing to proceed thence to Siena; but on the way he was so effectually plundered, so completely stripped, and despoiled of every thing, that he entered Siena deprived of all but his shirt. He was nevertheless honourably received and clothed anew by his friends; nor did any long time elapse before he entered the service of the Republic, and was appointed superintendent of all works connected with the fortifications of the city.^[21] While thus residing in Siena, two sons were born to Baldassare; he was employed, as we have said, in the public service,^[22] and made numerous designs moreover for the houses of his fellow citizens, as he did that for the organ of the Church of the Carmine,^[23] which is exceedingly beautiful.

The Imperial and Papal armies had meanwhile advanced to the siege of Florence, when his Holiness despatched Baldassare to the camp, there to give his aid to the Commissary, Baccio Valori, who was commanded to avail himself of the judgment and counsels of Baldassare in the services of the siege, and for the more effectual investment of the city. But Baldassare, esteeming the liberty of his ancient fatherland beyond all the favour of the Pope, was not to be prevailed on to lend his assistance in any affair of moment, nor was he to be alarmed in any manner by the indignation even of that great Pontiff, who, perceiving this, bore him no little ill-will for a considerable space of time.^[24]

The war being ultimately brought to an end, Baldassare would fain have returned to Rome, wherefore the Cardinals Salviati, Trivulzi, and Cesarino, whom our artist had on many occasions very faithfully served, made such efforts in his behalf, that they succeeded in reinstating him in the favour of the Pope; he was thus permitted freely to return to Rome, and was even replaced in the appointments he had previously held. Nor had he been many days in the city before he commenced the preparation of designs for two beautiful palaces, commanded by the Signori Orsini, and which were erected on the road leading to Viterbo: he also designed other edifices to be constructed in Apuglia.

Baldassare did not neglect meanwhile, the study of astrology, in which he greatly delighted, nor that of the mathematics, and others in which he took pleasure. He also commenced a book on the Antiquities of Rome, with a Commentary on Vitruvius, gradually preparing the designs that is to say, in illustration of that author’s writings, some part of which commencement is now to be seen in the possession of Francesco da Siena,^[25] who was his disciple. Among these are designs after the ancient manner, as well as others proper to the modern mode of building.

While thus sojourning in Rome, Baldassare prepared the design for the palace of the Massimi family: the plan of this building is of an oval form, and the edifice is in a new as well as very beautiful manner; the principal façade is enriched by a vestibule of Doric columns, admirable for the justice of the proportions, and proving much knowledge of art on the part of the master: equally beautiful is the distribution of the interior quadrangle; and the flight of steps by which the chief entrance is gained deserves the utmost commendation; but this building Baldassare could not finish, having been overtaken by death before its completion.^[26]

But notwithstanding the great talents of this noble artist, his numerous works availed but little to his own advantage, however useful to others. It is true that he was employed by Popes, Cardinals, and other great and rich personages, but no one of them ever conferred on him any real and efiectual benefit; yet this may very possibly have happened, not so much from the want of liberality in those nobles (although they are for the most part ever most open-handed in cases where they should be least so), as from the timidity and excessive m(^esty, or to say what in this case was the fact— the simplicity and faint-heartedness of Baldassare.^[27] But it is certain that by as much as all should be discreet and moderate in respect of princes who are magnanimous and liberal, by so much is it needful to be importunate and pressing towards those who are avaricious, ungrateful, and discourteous; for inasmuch.as an unremitting demand would be an unpardonable error, nay a vice, if applied to the upright and liberal, insomuch is it a virtue when practised against the mean and avaricious; nay, to be modest with such people is an absurdity and a wrong. Baldassare thus found himself very poor as age came on, and was beside, burdened with a family; finally, after having always lived a most upright and honourable life, he fell grievously sick, and was obliged to confine himself to his bed: hearing which, and, when too late, perceiving the loss he was about to incur by the death of such a man. Pope Paul III. sent him one hundred scudi by the hands of Jacopo Melighi, accountant of San Pietro, making him at the same time the most friendly offers and promises. But the illness of Baldassare increased, perhaps because it was ordained so to be, or, as some believe, because his malady was provoked, and his death hastened by the effect of a poison, administered to him by one of his rivals, who desired to succeed him in his ofBce, from which he derived two hundred and fifty scudi per annum. The physicians did not discover this until it was too late, and Baldassare died in great sorrow; but more on account of his family and of the painful condition in which he was leaving them, than for himself.^[28]

He was deeply mourned by his children and friends, who laid him to rest in the Rotondo 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 honourable sepulture, and inscribing over them the following epitaph:—

Balthasari Perutio Senensi, viro et pictura et Architectura aliisque ingeniorum artibus adeo excellently ut si priscorum occubuisset ternporibus, nostra ilium felicius legerent, vix. Ann. lv. Mens. xi. Dies xx.

Lucretia et lo: Salustius optima conjugi et parenti, non sine lachrimis Simonisy Honoriiy Claudii. jEmilice, ac Sulpitice minorum Jiliorum, dolentes posuerunt. Die iiii. Januarii mdxxxvi.^[29]

The fame of Baldassare was greater after his death than during his life;^[30] 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. It is true that the last named architect effected much, in accomplishing what we now possess; but he would, nevertheless, as is believed, have seen his way more clearly through certain of the difficulties incidental to that work, had he performed his labours in company with Baldassare.

Many of the artistic effects of Baldassare were inherited by the Bolognese Sebastiano Serlio, who wrote the third book of the “Architecture,” and the fourth of the “Antiquities of Rome,” with their admeasurements. In these works, the results of Baldassare’s studies, to which we have alluded above, were inserted in the margin, and other portions of the same were likewise of great use to the author. The writings of Baldassare on the before-mentioned subjects remained for the most part in the hands of the Ferrarese, Jacopo Melighino, who was afterwards appointed by Pope Paul III. the architect for all his buildings; and in those of that Francesco the Sienese, whom we have before mentioned, and who was his creature and disciple. By this artist is the escutcheon of the Cardinal di Trani, in Navona, which has been Very highly commended, and which is still to be seen in Rome, with certain other works, also by Francesco da Siena. It is from him that we have procured the portrait of Baldassare; and I have likewise received many notices from him of things with which I was not acquainted, when this book was first put forth to the world.

The Roman artist, Virgilio, was also a disciple of Baldassare. He painted a façade in the middle of the Borgo Nuovo, in his native city, representing Captives thereon, and executed many other very fine works. Antonio del Rozzo, a citizen of Siena and a most eminent engineer, also received the first principles of architecture from Baldassare, under whom the Sienese painter, Riccio, likewise studied his vocation, although he afterwards imitated, to a certain extent, the manner of Giovanni Antonio Sodoma of Vercelli.^[31]

The Sienese architect, Giovanni Battista Peloro, was another of Baldassare's disciples; he gave much attention to mathematics and cosmography, constructing quadrants, the mariners’ compass, instruments for measuring, and other things of similar kind, with his own hand; he likewise made plans for numerous fortresses, which are now for the most part in the hands of the Sienese goldsmith. Maestro Giuliano, his most intimate friend. This Giovanni Battista made a model of the city of Siena, for the Duke Cosimo, which is, in truth, exceedingly beautiful, with the valleys and every thing surrounding the place to the distance of a mile and a half—the walls, the roads, the forts, and, in short, every object within that distance, are all shown in relief—a truly admirable work. But being of an unstable mind, Giovanni w^ould not remain in the service of Duke Cosimo, although he had a good stipend from that prince, but departed, thinking to do still better, and repaired to France, where, having followed the Court without any advantage for a long time, he died at Avignon. And although this master was a very good and able architect, yet one does not see buildings erected by him or after his design in any city, because he remvained for so short a time only in each place, that he had not time to determine on any thing, insomuch that he consumed all his days in the preparation of designs, in fanciful inventions, in the admeasurement of buildings, or in making models. He has nevertheless deserved this mention, as being a follower of our arts.

Baldassare drew admirably well in all manners, giving proof of great judgment and infinite care in each, but more particularly with the pen, in water-colours, and in chiaroscuro. Of this, numerous examples may be seen in the many drawings by this master, which are now in the possession of different artists: we have ourselves a considerable number in our book of drawings, and among them is one which is a most fanciful invention. It represents a Piazza entirely filled with arches of triumph, colossal statues, theatres, pyramids, obelisks, temples of various character, colonnades, porticoes, and other erections of similar kind, after the manner of the ancients. On a pedestal in the midst of these edifices, is a figure of Mercury, and around him are thronging all sorts of Alchymists with bellows, some large, others small, crucibles, retorts, and other instruments used in distillation, proposing to administer an enema to the end that he, the said Mercury, might he delivered from peccant humours. A ridiculous and fantastic delineation, but a singular idea, and very well executed.

Baldassare, who always proved himself courteous, modest, and friendly to all, was very intimate with the excellent Sienese painter, Domenico Beccafumi,^[32] as he also was with Capanna,^[33] who executed many paintings in Siena; among them the façade of the Turchi, and that of another building on the Piazza.

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1. For numerous details regarding this question, which has been much agitated among the compatriots of Baldassare, the reader is referred to Della Valle, Lettere Sanesi. He will also find further information in Lomazzo, Serlio, and Giulio Mancini.
2. Or some few years earlier, seeing that the inscription on the tomb of Baldassare gives his age as fifty-six at the time of his death, which took place in the year 1536.
3. The Life of Maturino will be found, together with that of Polidoro, in the present volume.
4. ccording to Maneini, who is cited by Della Valle, Lettere Sanesi, tom. iii. p. 182, the paintings in the “Tribune of Sant’Onofrio are due to Bernardino Pinturicchio. The delicate and scrupulous Bottari, as his countrymen very justly call him, does not hesitate to declare that in later times these works have been grievously maltreated by “the curse of restorations.”
5. One of the disciples of Leonardo da Vinci, but also a follower of Raphael, whose acquaintance he made in Rome.
6. These paintings are entirely destroyed.
7. The palace of Agostino Chigi, which is situate in the Lungara, now hears the name of the Farnesina, as we have already remarked in the life of Raphael.
8. All these works, the stories in terretta excepted, are in excellent preservation; the cornices still appear to be in relief, and deceive all who see them. — Bottari.
9. Better known among ourselves as Sebastiano del Piombo.
10. This work has been re-touched, but Lanzi remarks that its originality of conception, and the eloquent expression of the figures, are still apparent. Annibal Carracci copied this work, and the drawing thus made is now in the possession of the Duke of Devonshire.
11. About twenty-eight feet.
12. The paintings of these two fapades no longer exist. —Dottari.
13. The Sienese attribute the cloister and campanile of the Carmine also to this master.
14. See Bianconi, Guida di Bologna. See also Gaye, Carteggio inedito, vol. ii.
15. Of this work there is an admirable engraving in three parts by Agostino Carracci.—Bottari.
16. The life of the painter and military architect, Girolamo Trevigi, follows. A sketch of it will also be found in Ridolfi, among the Lives of the Venetian Painters.
17. The monastery was suppressed in 1797, but the church, with its magnificent portal, still remains. See Bianconi, Guida di Bologna.
18. Baldassare Peruzzi was chosen architect of St. Peter’s, on the death of Raphael. See the work on architecture of his disciple Serlio; even the difficult Milizia praises the above-mentioned design, which is perhaps the most beautiful of all those prepared for the building. See also Platner and Bunsen, Deschreibung der Stadt Rom., Abth. 2nd, 3. 140.
19. The tomb of Adrian VI. is in the chapel of the High Altar, in the Church of Santa Maria dell’ Anima. A print of it may be seen in the work of Ciacconio.
20. This tabernacle was afterwards broken up; that which we now see is’ by Bernini, who took his idea of its form from the work of Bramante, in the cloister of San Pietro-a-Montorio. — Bottari.
21. The decrees by which he was appointed may be seen, with many other details respecting this period, in Gaye, Carteggio, &c.
22. See Gaye, as above cited, where will be also found the appointment of Baldassare as architect of the Church of the Immaculate Conception, then projected by the Signoria of Siena, with many other particulars of much interest, but which cannot here find place.
23. Vasari here repeats what he has previously said, while he omits to mention many of the best works executed by llaldassare at this period; the beautiful High Altar, and the Chapel of St. John the Baptist, in the Cathedral of Siena, for example; the Villa Belcaro, near that city; the fine portal of the Sacrati Palace in Ferrara, and many others, which are noticed by Mancini, and by Della Valle, Lettere Sanesi.
24. Della Valle mamtains that Baldassare acted thus, not from love of Florence, but in obedience to the commands of Siena, which city was a good Ghibelline. A letter of Baldassare himself, as cited by Gaye, Carteggio inedito, has, however, proved Vasari and Della Valle to be both in error. Baldassare really did serve against Florence, and in the letter alluded to he adverts to the possibility of attacking the city from the Poggio Imperiale.
25. Della Valle calls this Francesco “a poor creature, whom Baldassare employed on all occasions, whether as concerned his paintings or not.”
26. Our readers are well aware that this palace is erected on the foundations laid for the ancient theatre of Marcellus, and Serlio affirms that Baldassare, in digging among the remains of that edifice, discovered so much of the plan that he was enabled to ascertain exactly what had been its proportions in every part.
27. “We lament,” observes one of our author’s most candid as well as admiring compatriots, “that Vasari should call that an awkward faint-heartedness, which was indeed the extreme delicacy and true modesty of this most excellent master.”
28. In the life of Daniello da Volterra, Vasari mentions an architect, called Salustio, as a son of Baldassare Peruzzi. He is likewise named in the epitaph cited a few lines below.
29. This inscription is not now in the Rotondo. — Schorn.
30. Baldassare was without doubt an artist of the first rank. In painting he approached the best masters of his day; in architecture he belonged to the greatest. Many place him before Bramante. Lomazzo calls him, “Architetto Universale.” In perspective he was unsurpassed, as even Milizia, who so rarely praises, admits; “and this,” observes one of his compatriots, “is sufficient to prove his merits, for never does Milizia bestow a syllable of commendation that has not been well earned.”
31. The life of this artist follows.
32. Whose life follows.
33. Shortly alluded to in the life of Don Bartolommeo, Abbot of San Clemente. See vol. ii. p. 194.