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182 THE FIFTEENTH CENTURY. Chap. VII. when he designed the Delivery of the keys, but he had not as yet Ghirlandaio’s art in distributing space, nor his talent in combining figures with scenery or edifices. Of his landscapes at the Sixtine there is less to be said than of his architecture, in considering which, particularly with reference to the fresco before us, it is noteworthy how much the octogon temple has in common with" that of the Caen Sposalizio, or that of Raphael’s “Marriage” at the Brera. The ruling style in these is represented in the works of the architects collectively known un der the name of Bramante, and is found in its simplest and most classic form in the S. Maria della Consolazione at Todi by Bramante of Urbino. 1 But an early example of it may be seen in a study of buildings at S. Chiara of Urbino, due, as we have supposed, to the pencil of Piero della Francesca. Perugino is one of the great men of his time, who does not seem to have undertaken architectural commissions. In Rome he might, if he chose, associate with men of name in that branch; and the probability that he did so is increased by the circumstance that amongst the spectators in the Deli very of the keys one on the extreme right stands (in pro file), holding a set square, pointing with his forefinger as he talks to his neighbour handling a pair of compasses. To the left of both, a man in upright attitude separates the two first from a fourth personage wearing a skull-cap, who might be Perugino himself, his face has so many features recalling those of the portrait in the Uffizi at Florence. There are no means of knowing who were the architects thus portrayed by Perugino, but he might have received from them the sketches for the arches which adorn his distance. Two or three figures besides those described may be considered as taken from life; but it would be vain to think of assigning names to 1 Completed in 1504 according to Pungileoui, in Vita di Ura nian te, p. 29.
