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A very complete example of artificial and elaborate composition may be found in the drawing by Baldassare Peruzzi in our National Gallery. It contains at least fifty figures; in the centre, a magnificent architectural design; and wonderful studies of perspective to the right and left, in the long lines of receding groups.
The Peruzzi chapel has scenes from the lives of the two S. Johns, the Baptist, and the Evangelist: all rather too thoroughly re-painted, although following Giotto's groundwork closely enough to retain much of their interest and value. And here once again one should consult the "Mornings in Florence," where the wilful discerning enthusiast is, like his revered subject, also at his best.
The Palace of the Commune at Cortona is interesting because of the shields of Florentine governors, sculptured on blocks of grey stone, and inserted in its outer walls Peruzzi, Albizzi, Strozzi, Salviati, among the more ancient de' Medici at a later epoch. The revolutions in the Republic of Florence may be read by a herald from these coats of arms and the dates beneath them.
Peruzzi indeed returned to his office at S. Peter's in 1535, but his death followed in 1537, when Antonio da Sangallo remained master of the situation. Sangallo had the good sense to preserve many of Peruzzi's constructive features, especially in the apses of the choir and transepts; but he added a vast vestibule, which gave the church a length equal to that of Raffaello's plan.
A builder of genius, working on the library, might indeed have displayed his science and his taste by some beautiful invention adapted to the awkward locality; as Baldassare Peruzzi, in the Palazzo Massimo at Rome, converted the defects of the site into graces by the exquisite turn he gave to the curved portion of the edifice.
Baldassarre Peruzzi of Siena, an excellent painter, could never have his fill of praising it, and I myself, one day that I saw it uncovered in his company, while passing through Siena, was struck with astonishment by it, as I also was by the five little scenes that are in the predella, painted with distemper in a judicious and beautiful manner.
After the downfall of the Roman Empire, these decorations of the stage were neglected, till Peruzzi, a Siennese, who died in 1536, revived them. Those on the right and left were destined to the second-part players, and the two others, on the sides, one to people from the country, the other to those from the harbour, or any public place.
Therefore, forestalling a vote of censure in the Chambers, where he had never yet had a real majority, Rattazzi resigned office with a parting homily in which he claimed to have saved the national institutions. The administration which followed contained the well-known names of Farini, Minghetti, Pasolini, Peruzzi, Delia Rovere, Menabrea.
In 1522, the Board of Works for the cathedral church of S. Petronio at Bologna decided to complete the façade. Various architects sent in designs; among them Peruzzi competed with one in the Gothic style, and another in that of the Classical revival.
Count Ressi and his Catawba wine. Alfieri Sostegno and his school for political and social studies. Ubaldino Peruzzi. Stay at the Italian lakes. Visit to my colleague, Minister Both, in Switzerland; his duties as Landamman. The Abbey of St. Gall and its library. Visit to the Engadine. Talks with the British Admiral Irvine, at St. Moritz; his advocacy of war vessels with beaks. Sermon at Geneva.
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