Baldassare Peruzzi

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Peruzzi, Baldassare


Baptized Mar. 7, 1481, in Siena; died Jan. 6, 1536, in Rome. Italian architect and painter.

Peruzzi worked with Bramante and Raphael. After Raphael’s death, he supervised the construction of St. Peter’s Church in Rome, adhering basically to Bramante’s centralized plan. Peruzzi combined High Renaissance and early mannerist influences. Whereas his early buildings, such as the Villa Farnesina in Rome (1509-11), are marked by a lyricism and lightness of form, his later Palazzo Massimo alle Colonne in Rome (1536) is distinguished by sharp contrasts between the supporting and supported elements and by a dynamic relationship with the urban surroundings.

Peruzzi’s frescoes, for example, those in the Villa Farnesina (from 1511), are delicately decorative and reflect a love of illu-sionistic effects. His settings for spectacles, including those on fantastic, fairy-tale themes (L. Ariosto’s I Suppositi, 1519), greatly influenced the use of perspective in set design.


Kent, W. W. The Life and Works of Baldassare Peruzzi. New York [1925].
Frommel, C. L. Baldassare Peruzzi als Maler und Zeichner, vols. 1-3. Vienna-Munich, 1967-68.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Theatrical perspective with the symbolic monuments of Rome, n.d., possibly Baldassare Peruzzi (1481- 1536), pen and bistre on paper, 58.5 x 71,3cm.
Rijser focuses on the frescoes in the Sala del Fregio by Baldassare Peruzzi, which include the Labors of Hercules, Loves of Jupiter and other mythological scenes that may reflect Chigi's identity as a successful businessman.
Bodefeld describes the "Peruzzi style" developed by Baldassare Peruzzi (1481-1536), the Sienese architect who worked in Rome and returned to his native city after the Sack of Rome in 1527 to become architect to the republic.
On one level, perhaps it is not surprising to find so much convincing architecture in Renaissance paintings as so many painters worked as architects as well: Michelangelo, Baldassare Peruzzi, even Raphael.
This volume is the outcome of a seminar on Baldassare Peruzzi organized by the Centro Internazionale degli Studi di Architettura Andrea Palladio in 2001.
Frommel, "'ala maniera e uso delj bonj antiquj': Baldassare Peruzzi e la sua quarantennale ricerca dell'antico"; Francesco Paolo Fiore, "Baldassare Peruzzi a Siena"; Mauro Mussolin, "San Sebastiano in Vallepiatta"; Vitale Zanchettin, "Costruire nell'antico: Roma, Campo Marzio 1508-1523: Peruzzi, la confraternita di san Rocco e i cantieri intorno al mausoleo di Augusto"; Marzia Faietti, "Peruzzie e i bolognesi: indizi per la riconstruizione di un rapporto privilegiato"; Silvia Danesi Squarzina, "Gli affreschi dell'appartamento Riario nell'episcopio di Ostia Antica"; Elena Svalduz, "'Bellissime investigazioni': su alcuni progetti di Baldassare Peruzzi per Alberto Pio da Capri"; Achim Gnann, "Peruzzi oder Raphael?
It was admiration for Raphael that led other artists, starting with Baldassare Peruzzi, to be buried there.
Among influential technical experts, aside from his own father, Francesco di Giorgio Martini, Baldassare Peruzzi, and Giovanni Battista Peloro (all of them Sienese) would have been particularly important.