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Afterwards, Perino and Giorgio coming together to settle that affair, Perino, as the older man, began to speak, and set himself to censure that prospect-scene and to say that it was a work of a few halfpence, and that Aristotile, having received money on account and having been paid for those who had assisted him, had been overpaid, adding: "If I had been commissioned to do it, I would have done it in another manner, and with different scenes and ornaments from those used by that fellow; but the Cardinal always chooses to favour some person who does him little honour."
But the great expenses of that place exceeded the means available, so that M. Giovanni Andrea and the others were forced to remove the prospect-scene and the other ornaments from S. Apostolo and to convey them into the new Temple of S. Biagio, in the Strada Giulia.
One year, at the time of the Carnival, when Ruberto Strozzi was giving a banquet at Rome to certain lords, his friends, and a comedy was to be performed at his house, Aristotile made for him in the great hall a prospect-scene, which, considering the little space at his disposal, was so pleasing, so graceful, and so beautiful, that Cardinal Farnese, among others, not only was struck with astonishment at it, but caused him to make one in his Palace of S. Giorgio, where is the Cancelleria, in one of those mezzanine halls that look out on the garden; but in such a way that it might remain there permanently, so that he might be able to make use of it whenever he so wished or required.
This was very agreeable to Perino, because, feeling hatred for Aristotile, and taking it ill that he had executed that prospect-scene, which he thought should have fallen to him as the servant of the Cardinal, he was living in apprehension and jealousy, and all the more because the Cardinal had made use in those days not only of Aristotile but also of Vasari, and had given him a thousand crowns for having painted in fresco, in a hundred days, the Hall of "Parco Majori" in the Cancelleria.
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