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Chap. XI. PEEUZZI. 395 of Michael Angelo's two subjects in the ceiling of the Sixtine chapel, and full of his elasticity in the re production of the nude. In the Adoration, Peruzzi ap pears more completely in his own colours, with the oft- recurring impress of Bazzi in the type of faces, but with rich and skilful grouping of his own, and a grand cast of drapery. Something, at the same time, in the general aspect of the work reminds one of Gaudenzio Ferrari; and the presence of that feature in more than one of these frescos might almost suggest that he and Peruzzi were together at Rome. The conception of the Deluge illustrates another side of Peruzzi’s character. Almost all trace of the Umbrian is lost in a vigorous union of episodes and action, in the rendering of which the models of the Florentine school, and particularly those of Buonarotti afford the master peculiar inspirations. Without falling into the empty imitation of the Herculean in form, Peruzzi applies with originality the maxims upon which the art of the great Florentine was based and strives to gain a footing on the level which he attained. 1 The sacrifice of Isaac, in the contemplation of which one reverts to the time of Ghiberti’s competition with Brunelleschi, is also very fine. The angel arresting the hand of Abraham, the patriarch himself, are grand, in the freedom and life which they embody; and the group is adapted to its place by an application of the principles that dictate to Raphael his arrangement of the same subject. , Less successful in the Nativity, the Flight into Egypt, or the David and Goliath, Peruzzi is himself again in the Judith and Holophernes, where an old female on the ground, stoops with her arm and shoulder between her 1 On the left, the ark floats on the waters, and a boat tries to weather the storm. A horse and an ox swim to the land, and a man grasps in agony at the bank. A fe male with two children at her feet listens to a man who points to the rising flood. More in rear, a man holds on to a tree.
