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Updated: June 2, 2025
Perino therefore made a most beautiful design, which included a row of children and other ornaments in fresco between one chapel and the other, and niches with Prophets and scenes of various kinds; and this design pleased the Warden.
Thus left in Rome, and seeing the ancient works of sculpture and the marvellous masses of buildings, reduced for the most part to ruins, Perino stood lost in admiration at the greatness of the many renowned and illustrious men who had executed those works.
His disciple, likewise, was Marcello Mantovano, who executed on a wall at the entrance of the Castello di S. Angelo, after the design and under the direction of Perino, a Madonna with many Saints in fresco, which was a very beautiful thing; but of his works as well there will be an account elsewhere.
So in Genoa there is the house of Prince Doria, painted by Master Perino, with great judgment, especially the Storm of the Vessels of Æneas, in oils, and the ferocity of Neptune and his sea-horses; and likewise in another room there is a fresco, Jupiter fighting against the giants in Phlegra, overthrowing them with thunderbolts; and nearly the whole city is painted inside and out.
Round the picture of the Madonna were to be made some ornaments in stucco and painting, and together with them a memorial to a certain Niccolò Acciaiuoli, who had formerly been a Roman Senator; and Perino, having made the designs, straightway set his hand to the work, and, assisted by his young men and by Marcello Mantovano, his disciple, carried it out with great diligence.
But Perino complained that the promise of seeing Rome, by which he had been brought from Florence, was not being fulfilled, in consequence of the profit and advantage that Vaga was drawing from his services, and he resolved to go thither by himself; which was the reason that Vaga, leaving all his works, took him to Rome.
For many years past Perino had been intimately acquainted with a certain lame priest, Ser Raffaello di Sandro, a chaplain of S. Lorenzo, who always bore love to the craftsmen of design.
Alone among so many, Baviera, who had the engravings of Raffaello, had not lost much; wherefore, moved by the friendship that he had with Perino, and wishing to employ him, he commissioned him to draw some of the stories of the Gods transforming themselves in order to achieve the consummation of their loves.
Wherefore, persuaded by that master, who told him at last that he ought not to disappoint the entreaties and expectations of so many lofty intellects, particularly since it would not take longer than two weeks to execute a figure in fresco, and they would not fail to spend years in praising his labours, Perino resolved to do it, although he who spoke thus had an intention quite contrary to his words, being persuaded that Perino would by no means execute anything much better than the work of those craftsmen who were considered to be the most excellent at that time.
Among those painted in imitation of bronze on the base the best are likewise those by the hand of Perino namely, Abraham sacrificing his son, Jacob wrestling with the Angel, Joseph receiving his twelve brethren, the fire descending from Heaven and consuming the sons of Levi, and many others which there is no need to name, for their number is very great, and they can be distinguished from the rest.
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