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See also:PERUZZI, BALDASSARE (1481-1536) , See also:Italian architect and painter of the See also:Roman school, was See also:born at Ancajano, in the See also:diocese of See also:Volterra, and passed his See also:early See also:life at See also:Siena, where his See also:father resided. While quite See also:young Peruzzi went to See also:Rome, and there studied See also:architecture and See also:painting; in the latter he was at first a follower of See also:Perugino. The See also:choir frescoes in Sant' Onofrio on the Janiculan See also:- HILL
- HILL (0. Eng. hyll; cf. Low Ger. hull, Mid. Dutch hul, allied to Lat. celsus, high, collis, hill, &c.)
- HILL, A
- HILL, AARON (1685-175o)
- HILL, AMBROSE POWELL
- HILL, DANIEL HARVEY (1821-1889)
- HILL, DAVID BENNETT (1843–1910)
- HILL, GEORGE BIRKBECK NORMAN (1835-1903)
- HILL, JAMES J
- HILL, JOHN (c. 1716-1775)
- HILL, MATTHEW DAVENPORT (1792-1872)
- HILL, OCTAVIA (1838– )
- HILL, ROWLAND (1744–1833)
- HILL, SIR ROWLAND (1795-1879)
Hill, usually attributed to See also:Pinturicchio, are by his See also:hand. One of the first See also:works which brought renown to the young architect was the See also:villa on the See also:banks of the See also:Tiber in Rome now known as the Farnesina, originally built for the Sienese See also:Agostino Chigi, a wealthy banker. This villa, like all Peruzzi's works, is remarkable for its graceful See also:design and the delicacy of its detail. It is best known for the frescoes painted there by See also:Raphael and his pupils to illustrate the stories of See also:Psyche and Galatea. One of the loggie has frescoes by Peruzzi's own hand—the See also:story of See also:Medusa. On See also:account of his success Peruzzi was appointed by See also:Leo X. in 1520 architect to St See also:- PETER
- PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
- PETER (PEDRO)
- PETER, EPISTLES OF
- PETER, ST
Peter's at a See also:salary of 250 scudi; his design for its completion was not, however, carried out. During the See also:sack of Rome in 1527 Peruzzi barely escaped with his life, on See also:condition of his painting the portrait of See also:- CONSTABLE (0. Fr. connestable, Fr. connetable, Med. Lat. comestabilis, conestabilis, constabularius, from the Lat. comes stabuli, count of the stable)
- CONSTABLE, ARCHIBALD (1774-1827)
- CONSTABLE, HENRY (1562-1613)
- CONSTABLE, JOHN (1776-1837)
- CONSTABLE, SIR MARMADUKE (c. 1455-1518)
Constable de See also:Bourbon, who had been killed during the See also:siege (see See also:VASARI). From Rome he escaped to Siena, where he was made See also:city architect, and designed fortifications for its See also:defence, a See also:great See also:part of which still exist. Soon afterwards he returned to Rome, where he made designs for a See also:palace for the See also:Orsini See also:family, a.nd built the palaces Massimi and Vidoni, as well as others in the See also:south of See also:Italy. He died in 1536, and was buried by the See also:side of Raphael in the See also:Pantheon.
Peruzzi was an eager student of See also:mathematics and was also a See also:fair classical See also:scholar. Like many of the great artists of his See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time, he was remarkable for the varied extent of his knowledge and skill. A most able architect, a fair painter, and a scientific engineer, he also practised See also:minor arts, such as See also:stucco-See also:work in See also:relief, sgraffito, and the decorative painted arabesques which the See also:influence of Raphael did so much to bring into use. His best existing works in See also:fresco are in the See also:Castel di Belcaro and the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of Fontegiusta in Siena. For Siena See also:Cathedral he also designed a magnificent wooden See also:organ-See also:case, painted and gilt, See also:rich with carved arabesques in friezes and pilasters; he also designed the high See also:altar and the Cappella del Battista.
His See also:chief See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil was the architect Serlio, who, in his work on architecture, gratefully acknowledges the great See also:debt he owed to Peruzzi's instruction. The See also:English See also:National See also:Gallery possesses an interesting See also:drawing by his hand. The subject is the " See also:Adoration of the Magi," and it is of See also:special value, because the heads of the three See also:kings are portraits of See also:Michelangelo, Raphael, and See also:Titian. The Uffizi and the library at Siena contain a number of Peruzzi's designs and drawings, many of which are now of priceless value, as they show See also:ancient buildings which have been destroyed since the 16th See also:century.
AmI1oRIT1ES.—Vasari, Vita di Baldassare Peruzzi (See also:Milanesi's ed., 1882), iv. 489; Milizia, Memorie degli architetti (1781, i. 210—215); Della See also:Valle, Lettere senesi (1782—1786); Gaye, Carteggio inedito d' artisti (1839—1840); See also:Lanzi, Storia pittorica (1804); and Platner, Beschreibung der Stadt Rom (1830—1842).
End of Article: PERUZZI, BALDASSARE (1481-1536)
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