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Ciiap. XI. PERUZZI. 393 was the author of the frieze for which the fables of an tiquity contribute the richness of their imagery. 1 But, a glance at such incidents as Apollo, driving the chariot of the sun, ought to have prevented this mistake. This is not the art bequeathed by Raphael to his favourite pupil. It is the bold, the classical one of Peruzzi, whose concep tion is the forerunner of that with which the less gifted Guido, under other influences as regards manner, produced the Aurora of the Rospigliosi Palace. Again, on the ground-floor, a room facing the Corsini Palace contains a Active frieze in which we find a co pious illustration of the fable of Hercules, the Rape of Europa, Danae and the golden rain, Diana transforming Acteeon, the death of the latter, Apollo and Midas with the asses’ ears, Apollo and Marsyas, Venus and Cupid, gambols of children and tritons, river-gods, Silenus, a satyr surprising Venus asleep, the. chase of Meleager, En- dymion. Nothing can be more fanciful or more power fully handled than this graceful and well-arranged series, nothing more like Peruzzi than the plastic nature and action of the figures. It is the work of a man who has studied Michael Angelo and Raphael, without abandoning his own originality, who has become chastened by contact with great cotemporaries. An interesting narrative might now be given of various undertakings entrusted to Peruzzi. We might describe the numerous edifices of which he adorned the fronts in Rome, 2 how he got up the “Treason of Giulia Tarpeia” at the festival given to Giuliano de’ Medici (1515) on his appointment to the supreme command of the Papal forces, 3 how he furnished models to Cardinal Pio for the Duomo (1515), and for S. Niccolo (1517) of Carpi; 4 we might register frescos in the Vatican and in S. Pietro, others done for Riario, cardinal of Ostia, both in the capital and 1 Annot. Va s. X. 88. 8 Vas. VIII. 222. 3. 4. 5. 7, and Lomazzo, in della Valle, Lett. San. III. 169. 3 Vas. VIII. 224. 4 Campori (Gli Artisti, ub. sup. 368), and Vasari VIII. 226. 7.