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Agrigentum, I conceive this only to hold good when the figures are worked out and made in some degree separate. If they are only in relief, i. e. not so much figures as emblems of figures, and the block on which they are carved is still left in its integrity of mass, and with its stedfast character undiminished, then it would appear legitimate that the front surfaces, and in some degree the profile of these masses, might be appropriately wrought into large sculptural forms of supportive and dignified character. This, though not done by the Egyptians, was by the Assyrians, and, as far as their archaic art went, it was worked out without fear or trembling. There is no doubt that this latter people in adopting or preserving wings in addition to the other elements of this form had, in the grand and dignified sweeps thus obtained, a great advantage over the Egyptians. Uniting also with the side of the figure, these wings are capable of affording a broad mass and surface of unity, of great service in the enhancement of structural forms, and this in a manner and a degree of which no other composition of form is equally capable. By placing his erect colossal sphinxes thus block-hewn back to back, and stretching out their wings behind them, the Assyrian architect obtained, either with or without the intervention of a narrow upright form of masonry, (containing usually an erect human figure also in relief,) an arch form of much decision and of the utmost force of service; and, indeed on the bold and wide spreading arch-forms thus stamped on the lower tier of the façades of his structures, much of the character and impression of his palaces and temples appear to rest. In doing justice, however, to this type of architecture, it is requisite to separate the real germ of its invention from the archaic crudities and shortcomings of its execution, and to recollect that the works at Nineveh preceded by some centuries the prevalence of the best art in Greece. It appears to me the germ of Assyrian art has such a character of grandeur, that had the Greeks occasionally adopted the style of base, and the application in block cut relievi of the winged Andro-sphinx, a great art success would in all probability have been achieved. The Greeks, however, did not adopt this style of structure, nor the winged Andro-sphinx in its just dignity. In Egypt we have seen this symbol to be one of royalty, and of respect to the gods; in Assyria, though not of royalty, to be yet of great dignity and intelligence. These two phases, evidently from their diverse treatment, not borrowed from each other, had probably a common origin in the art expression of some still earlier race, of which both the Egyptians and Assyrians retained the traditions aud emblems. I venture to conceive the two emblems which we are considering this evening to be, if not indeed the very oldest, yet among the very oldest art expressions in the world-the Angel as the emblem of Ministering and Divine protecting power; and the Sphinx, of Earthly power and intellect. Returning to the winged leoninė Andro-sphinx, I conceive its meaning, cleared from fables, not only unmistakeable, but that it has a just claim, in the universal alphabet of art, to be considered one of its simplest, clearest, and grandest hieroglyphics. As Professor Westmacott has well observed, the relievi of Nineveh are still easy to be read by all, while the writing that accompanies them is hard indeed to be deciphered. In conclusion, I would venture to suggest as an application to modern times, that as Britain has her lion, and America her eagle, and as both nations possess great power, intellectual and physical, and wide-spread influence rapidly disseminated-the leonine, eagle winged Andro-sphinx, shown in the model before us, might form a not inapt heraldic symbol of the Anglo-Saxon race.

Mr. M. DIGBY WYATT, H.S., was anxious that Mr. Bell, having treated the ancient part of the subject, should next take up the other portions, including the Scandinavian, and other Northern ones, with the Mediæval class of forms as shewn in illuminated manuscripts and carvings, in which moral as well as immoral propensities were set forth under animal types. The whole field of arabesque art moreover was teeming with these composite forms, many exceedingly graceful, which, from the earliest period of decoration down to the present time, had been invariably and continually maintained.

Mr. A. H. LAYARD, H.M., said that, with regard to the drawings by Mr. Bell representing the Cherubim, it was often found that the artist was led to adopt a type of art which did not exist when the objects themselves were executed. In like manner the shield of Achilles had often been restored, as if the supposed original had been made in the best times of Greek art, and not some centuries before. Authorities of some weight would lead us to believe that the Cherubim resembled the winged mythical figures discovered in Assyria. With regard to Jewish art, scarcely a trace of it remained. All we had to guide us were the sacred books and the traditions of Josephus. There was reason to believe that the Jews were deficient in imaginative art. Their institutions prevented the imitation of the human figure almost entirely. So far as he was aware, they had but small mechanical skill; and he did not know that a single case of Jewish antiquity was preserved to this day. The tombs of the kings and the tomb of Absalom at Jerusalem were all of a much more recent period, probably Roman. In the vision of Ezekiel, the four figures were the bull and the lion, the human being, and the eagle; the same forms that were combined in the mythical figures of the Assyrians. The Assyrians were a Semitic people. Their language was closely allied to that of the Jews, who readily had recourse to the Semitic nations, but never had any sympathy with the Egyptians. The Jews borrowed, he believed, whatever they had of architecture and decoration, entirely from the Assyrians. He was not certain that the Assyrian and the Egyptian symbols of the winged globe were the same. He quite agreed with Mr. Bell as to the advisability of employing composite forms in decoration, especially in the interior of domes, where they would be far more appropriate than representations of the acts of human beings. He might call attention to a very remarkable dome at Saronno, in Northern Italy, the interior of which was covered by painted representations of angels playing on instruments, in every variety of colour, so as to realize the expression of Dante, "that it was like a full blown rose." He had his doubts as to the fitness of introducing the Assyrian sphinx into English architecture. He agreed with Mr. Bell that if the Greeks had taken up the form of the sphinx with their pantheism they might have produced grand results, but he doubted whether races who had no positive credence in the symbol would. The Egyptians looked upon it as a type of their divinity, calculated to awe the multitude, and even in these days the Assyrian colossal figures produced that effect on his own mind when he saw them dug out of the earth. In the Assyrian Court represented at the Crystal Palace, the lower part was accurate, because it consisted merely of casts from the originals, but he did not quite agree in the colouring, which he thought had been rather overdone, and gave a wrong impression; because colour on plaster was very different from colour on alabaster, and it was impossible to know what colours the Assyrians used. In fact, the colour employed in the restoration gave a heaviness, thickness and ponderosity, which he did not think the originals ever had. It would be very satisfactory if Mr. Bell could give any information as to the anatomical principles upon which these composite figures should be formed.

Mr. BELL said, that his theory was not complete, and that he was not prepared to enter into that branch of the subject, but that it would have his best attention.

Mr. M. DIGBY WYATT, in moving a vote of thanks to Mr. Bell, made some further observations on the difference observable in works of sculpture representing animals executed in a symbolic and in a realistic manner. In modern times French artists had been most successful in representing animals. Animal sculpture was quite a new field for English artists, and the first thing was to learn to express the animal well and correctly, and then to apply it properly to architectural composition. The vote of thanks having been acknowledged by Mr. Bell, the meeting adjourned.

SOME ACCOUNT OF THE LIFE AND WORKS OF BALDASSARE PERUZZI.

By SAMUEL ANGELL, Fellow. Read at the Royal Institute of British Architects, April 4th, 1859.

In the notice of the life of Le Tarouilly, prefixed to "Les Edifices de Rome Moderne" (the noble work of that indefatigable architect and author), it is remarked that although he possessed a just admiration for the works of Bramante, Sangallo and Vignola, the artist he preferred was Baldassare Peruzzi; and so great was the admiration of Le Tarouilly for this "artista valente" (as he is styled by Milizia) that he compares him to Raffaelle from the resemblance he found in their characters, and in the nature of their talents!

The preference evinced by such excellent authority, and by one so eminently qualified from the direction of his labours and studies to form a correct judgment, has induced me to bring to your notice the works of Peruzzi, feeling assured that there are still among you some who have not been entirely led away from their early studies of Italian architecture, and that even from the Medieval benches (crowded, and so honourably occupied as they are upon this evening of their triumph) I might possibly enlist some sympathy, if not admiration, for so distinguished an architect of the Renaissance period as Baldassare Peruzzi.

Peruzzi was born early in the year 1481 at Accajano, near Siena, and he was sometimes called "Baldassare da Siena," but Vasari states, that both Florence and Volterra (as well as Siena) put in their respective claims for the honour of his birth-place. I believe, however, that we shall not be in error in considering him a Sanese.

His early days appear to have been passed in the workshops of the goldsmiths and jewellers, after which he commenced the study of painting, copying and imitating the works of the best masters, as well as drawing from nature; and upon the death of his father, about this period, his exertions and progress were such, that he was enabled to support himself by his art, and to aid both his mother and sister. We may remark that it is probable his early studies as a painter (more particularly those of a decorative character) produced in him afterwards that freedom and facility in his architectural designs for interior ornamentation, of which he has given us such exquisite specimens in the Massimi Palaces, and other of his works.

I regret that I have not sufficient data to place before you the works of Peruzzi in chronological order. I will adopt, therefore, the arrangement in which they are classed by Vasari, who informs us that Baldassare's first work (after some few unimportant ones at Siena) was a small chapel, near the Florentine gate at Volterra, where he painted certain figures with "infinite grace," after which he proceeded to Rome with his friend and brother artist, Pietro da Volterra. Peruzzi's early days at Rome appear to have been devoted to his studies as a painter, and he obtained great praise for the excellent manner in which he executed in fresco the Chapel of the Great Altar in the church of San Onofrio. He was next engaged in painting two small chapels in the church of San Rocco a Ripa, and having now attained some eminence, he was invited to Ostia, where he executed some beautiful historical representations in chiaroscuro, in the apartments of the tower of the fortress. Many of these represented combats, in which were introduced ancient armour and equipments of war. These decorative paintings are considered among the best of Peruzzi's works in that style, though it is but fair to state that he was assisted in them by Cesare, of Milan.

Upon the completion of his labours at Ostia, our artist returned to Rome, where he formed an intimate friendship with his celebrated brother Sanese, Agostino Chigi (the rich banker and amphitrion of his day), and with his assistance he was enabled to remain in Rome for some time, prosecuting his studies (more particularly those relating to architecture) with distinguished success, so much so, indeed, that he secured the patronage of Julius II, the Cardinal Raffaelle Riario, Bishop of Ostia, and of Messer Ulisse da Fano, for each of whom he executed painted decorations; but his chief architectural work at this time was the celebrated "Farnesina Palace," for Agostino Chigi, on the Lungara. Le Tarouilly gives 1510 as the date of this admirable production, (so well known I have no doubt to most of my audience), a work to which Vasari applied the happy expression of "Non murato, ma veramente nato."

Situated as the building is upon the spot formerly occupied by the gardens of the Emperor Geta, Baldassare composed his plan upon the most simple arrangement, evidently considering it as devoted to pleasure and entertainment, rather than for a domestic residence.

Le Tarouilly's three plates convey an admirable description of the edifice, with the sole exception that one of its most attractive features, (the exquisite colouring of the ornamentation), is not rendered; this omission, however, is in a great measure supplied by the beautiful coloured plate in M. Gruner's noble volume, and in the Italian prints tinted in body colour.

The Farnesina owes much of its celebrity to the beautiful pictorial embellishments of those eminent masters, Raffaelle, Giulio Romano, Sebastiano del Piombo, Daniele da Volterra, and Annibale Caracci, and, with all his fond preference for Peruzzi, Le Tarouilly allows that many parts of the exterior architecture are open to criticism; the design however is full of grace and elegance, and the ornamentation is deserving of all praise. Great portion of the enrichments in "terretta" are by Peruzzi's own hand, and the great Titian himself is said to have been deceived by the marvellous imitations of relievos.*

Peruzzi was next employed, according to Vasari, in executing a façade in "terretta" between the Campo de' Fiori and the Piazza Giudea. It is described as an admirable performance, particularly the perspective views which were introduced in it. This work was a commission from one of the Pope's chamberlains.

In the Chiesa della Pace our artist painted a chapel for Messer Fernando Ponzetti (who was afterwards made a cardinal); he also painted in "fresco," in the same church, a picture for Messer Filippo da Siena, representing the Virgin ascending the steps of the temple; this picture contained a great variety of buildings, with many beautiful ornaments of various kinds.t

A palace in the Piazza de' Satiri, at Rome, has been ascribed to Peruzzi, but although the plan has sufficient merit to be worthy of this great master, the authorship does not appear so firmly established as to warrant a longer notice of it.

The Palazzo Costa in the Borgo Novo (built for Jacobus Brixianus, surgeon to Leo X.) is not far distant from St. Peter's. Some attribute the architecture of it to Raffaelle, but Le Tarouilly (the best authority upon such points) is inclined to ascribe it to Peruzzi. The design is of unpretending character, and the ground floor (as in many instances in the Italian palaces) is occupied by shops. Much study has been given to this design, particularly to the rustication, and it is upon the whole well deserving the attention of the student.

The author of "Les Edifices de Rome Moderne" has devoted three plates to the Palazzo Linotte, in the Vicolo dell' Aquila. This palace is situated near the Cancelleria (the great work of Bramante), but little is known of its date or history, and it is attributed to Peruzzi more from its style than from any authentic source. It has been ascribed also to Bramante, and to Michael Angelo, but there are no traces of the distinctive styles of those architects, and if not the work of Peruzzi, the claims of San Gallo I believe would be considered as most worthy.

* It was in this palace that Agostino Chigi gave the celebrated entertainment to Leo X, when he ordered all the silver plate as it was removed from the tables to be thrown into the Tiber. We may apply the old Italian saying here, "Se non è vero

è ben trovato."

† Annibale Caracci copied this work: the drawing he made was in the late Duke of Devonshire's collection.

The Palazzo Ossoli, in the Via de' Balestraji, is attributed to, rather than positively known to be the work of Baldassare. The simple and masterly arrangement of the plan, and the elegance of the façade partake of the master mind and hand of Peruzzi, and I think there can be no doubt that Le Tarouilly is correct in naming him as the architect.

The Chigi Chapel in the Church of Santa Maria del Popolo, has been generally attributed (both as to its architecture and pictorial embellishments) to Raffaelle; but we owe it to the study and research of Le Tarouilly, supported by the opinion of his countryman, Lalande, that the architecture is from the hand of Baldassare; the style and imprint are his, and the "Corinthian Order," as published by his pupil, Serlio, resembles in a great degree the one that has here been employed. Peruzzi's intimate friendship with Agostino Chigi may be fairly adduced as an additional reason for believing that he was employed in this chapel as architect, while Raffaelle (as in the Farnesina) was commissioned with the pictorial embellishments. This chapel is certainly a "Capo d'Opera!" and although I may be venturing upon tender ground this evening, in daring to uphold the Italian architecture of the XVIth Century for ecclesiastical purposes, I am bold enough to admire this fine specimen of the taste and genius of Peruzzi, enriched by the master hand of the divine Raffaelle, and to join in the enthusiastic language of Le Tarouilly, "Honour then to Chigi, to whom we owe this chef d'œuvre, and who has immortalized himself by joining his name to those of the two great artists, to whom he was the Mecænas!"

Peruzzi's fame was now so well established as a painter, that he was appointed one of six eminent artists to paint a picture in honour of the arrival in Rome of Giuliano de' Medici, when he was made commander by the Holy Church: he selected as his subject "The Betrayal of the Romans by Julia Tarpeia;" and this picture is said to have borne away the palm. Vasari also mentions that he was employed upon painting the façades of a house near the Piazza Altieri, for Francesco Buzio, on which the portraits of all the Cardinals were introduced in the frieze. Baldassare, however, did not confine himself to strictly architectural subjects, for we find him engaged in painting an extremely beautiful bier, for the removal of the dead to the place of their burial, for the brotherhood of Santa Caterina, of Siena.

About this period (1520) Peruzzi appears to have been invited to Bologna, to enter into the famous competition for the designs for the façade of the Church of San Petronio; an event which appears to have excited as much interest in those days, as the struggle for the Government Offices or the Spurgeon Tabernacle in our ow times. We learn that Peruzzi sent in two designs, the one Italian, and the other Gothic; they are still preserved in the sacristy of the church, and Vasari is loud in his praises of a perspective view: this, I presume, applied to the Italian design, for I suspect Baldassare was more at home with the five orders than he was with the pointed arch, and buttress, and pinnacle of the Medievalists. While at Bologna, Peruzzi designed the portal of the Church of San Michele, in Bosco, and embellished the Monastery of the Monks, di Monte Oliveto, in the environs of Bologna.

The Cathedral at Carpi was also designed by Peruzzi at this period. For the Count Battista Bentivogli he made a design in chiaroscuro, "The Nativity of Christ and the Adoration of the Magi." As this drawing is now in our own National Collection, we ought to be enabled to judge whether its merits deserve the encomiums Vasari has bestowed upon it, but unfortunately it is

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