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in Ostia; 1 but this would be a labour of little fruit, es- pecially as the Ponzetti chapel in S. Maria della Pace offers an excellent clue to Peruzzi’s manner in 1517. In a semidome, no doubt planned by himself, 2 he painted, in three courses, the Sacrifice of Isaac, the Creation of Adam and Eve, Moses receiving the tables of the law, the Na tivity, Epiphany, and Flight into Egypt, David and Go liath, the Deluge, and Judith despatching Holophernes. 3 Below these, the Virgin and child between SS. Catherine of Alexandria and Brigitta, the latter recommending Fer- rando on his knees at her feet. All these subjects bear a great and unmistakeable stamp. The beauty of the spacing, and the taste with which the panelling is adorned, are not surpassed in Raphael’s chapel at S. M. del Popolo. 4 But the talent of Peruzzi at this period is particularly remarkable as displaying his endeavour to rival Michael Angelo and Raphael, in dignity of char acter, of expression, and of life, in breadth of handling, and in noble simplicity of drapery. Though it was not easy to attain this combination without loss of independent style, Peruzzi did-so with good fortune, and affords a gratifying example of the impulse which may be given to genius by the rivalry of great men. The Creation is composed and carried out with an art in the footsteps of that of Buonarotti and Sanzio. The Eternal taking Eve, shows her to Adam, from whose rib she has just been shaped. Ilis movement, as he sweeps in the air, recalls in its grandeur that of Raphael in the Camera dell’ Eliodoro; but the mode in which Eve is brought into the presence of Adam, is a fine compression 1 Yas. VIII. 221. 2. The latter are said by Vasari to have been done with the aid of Cesare da Sesto. 2 “Fece una eappella”, says Va sari, VHI. 223. The period in which the frescos were completed, is indicated in the framing of the semi-dome frescos by the words: “Ano Dorn. M.DXVI”(1516 0 r 17). | At that time Ferrando Ponzetti was archdeacon of Sorrento and president of the apostolic cham ber. 3 The annotators of Vasari (VIII. 223.) describe these subjects and express regret at their loss when they are still standing. 4 Begun 1516, finished 1519.
