quired for their representation, had long been out of use; the festivals and sacred dramas having taken their place. But either before or after the representation of the Calandra, which was one of the first comedies seen or recited in the vulgar tongue, in the time of Pope Leo X. that is to say, Baldassare painted two of these scenic decorations, which were surprisingly beautiful, and opened the way to those of a similar kind, which have been made in our own day. Now it appears to me difficult even to imagine how this artist has found it possible, within the closely limited space to which he was restricted, how he has found it possible, I say, to exhibit such a variety of objects as he has depicted, such a number of streets, palaces, temples, loggie, and fanciful erections of all kinds, with cornices and ornaments of every sort, so perfectly represented that they do not look like things feigned, but are as the living reality: neither does the piazza, which is the site of all these edifices, appear to be, as it is, a narrow space merely painted, but looks entirely real and of noble extent. In the arrangement of the lights also, Baldassare showed equal ability, in those of the interior, which are designed to enhance the effect of the views in perspective, more especially; every other requisite, demanded for the occasion was added with similar judgment; and this is the more remarkable, because the habit of preparing such things had, as I have said, been totally lost. This kind of entertainment is nevertheless superior in my opinion to those of every other character, when it has all the appliances required for its perfection, surpassing them all by very far, however sumptuous and magnificent they may be.
In the year 1524, Clement VII. was elected Pope, when Baldassare made the preparations for his coronation. The fagade of the principal chapel also, which had been commenced by Bramante, was completed by Baldassare, who constructed it in Peperino marble. In the Chapel wherein the bronze monument of Pope Sixtus is placed, this master painted in chiaro-scuro the Apostles, which are in the niches behind the altar; he likewise gave the design for the tabernacle of the sacrament, which is a very graceful work.[1]
- ↑ This tabernacle was afterwards broken up; that which we now see is’ by Bernini, who took his idea of its form from the work of Bramante, in the cloister of San Pietro-a-Montorio. — Bottari.
