tains a document concerning the sale of the house, the deed of being dated February 11, 1574, and shows that the buyer Andrea Rubini, purchased it for scudi, “pro. persona nomi nan Another document r 1574, declares the “persona nominanc to have been Cardinal Felice Peretti, and there are many evidences to prove that he lived here between 1574 and 1581 or 1582, when he retired to his little villa and vigna Santa Maria Maggiore, where he lived in comparative seclusion till his elevation to the Papal Throne in 1585 It was
house that unfortunate treacherou assassinated Giord: cause
sale
one 3,050
neat
very the and
esumably from. this the Cardinal's nephew Francesco Peretti ever
of
I
no, be-
enticed one r
at the instance
Orsini, Duke of Brac nt nobleman was et ored of Francesco Peretti’s wife beautiful \ Accoramboni sion apparently reciprocated by bitious lady—and wished himself. ri
the pa
ttoria 1 that to have her This tragedy nearly broke heart, and d closely than ever to his three arts and buildin devoted himself during the period of his political eclipse the elevation of Cardinal to the pontificate as Gregory XIIT
Save the just noted with ence to the history of the Palazzo P all else is conjectural owing to the ent lack of documentary evidence ; was presumably during these comy uiet, leisure, and ‘such chitectural activity as his relatively slen der means would permit, that, with his passion for building, he caused the cor- tile to be constructed. The structural evidence points to about 1580 as an ap- proximate date
It has been suggested, on the strength of sundry items of design, that either Giovanni da Bologna or Bartolommeo Ammanato may have been responsible for the plan. But Giovanni da Bolognz so far as we know, was working in Flor ence about the time the cortile was ap- parently constructed and had been for some years previously. Bartolommeo
the
ardinal’s for solace him more hobbies
books, the
which he had since Boncompagni facts refer
tti pres but it
of
years ive
who rebuilt the won r Ponte Sama Trinita across the Arno, see been steadily employed in Florence d ing all this period, although the flattening out projections cortile, with the usual nd that was be more and more characteristic of baroque design, would favor the h rehitect accustomed
re}
Ammanato, too, he
drously — beautiful alla ms to have r reneral the be
omit
compare swelling relief
ression of any tumultuous abandon ¢
an jorent
lines
It much work, which is ol who had whatever ght h
Domenic
likely thi
not the
seems more wi
of one master,
1 genius he
buddir
1 1 recent recently
creation of hitec 1 wh ved afterwar¢ Fontana wt tain of Acc many the igr Peret Pope Sixtus \ Fascina’ . the enough
who hi m ¢ n
li ardit the D. 1 the
removed I
same ater Fe
re i when
comy in wrought by Bol seems rather architect. tryin of
conce an ar \r to point w
to's ex t
gna’s or ur rience young himself
sure
not the sense elimination ntrol that later t showering fruits of an ardent vention from a delightful de
tle
c would bring, the exuberant
omtaneous
years
I
. iG art
and 1
n
uy pick man not lit
which we ail and g
inspiration
As a study
tecture and p:
esting, if not
ing and suggestive.
in the combination of arcl it at least inter indeed distinctly illuminat It might have heen equally engaging as a study in the com bination of architec ainting
sculpture, if the niches, on each of th three sides, now contained the statues for which they were in all probability originally designed. As will be seen by reference to the elevation drawing of the end or south wall, the mouldings, cor
108
tin is
of ure, 1
