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Updated: June 2, 2025
This story was suggested to Perino, and, although the place was out of the way, and the price small, so much was he attracted by the possibilities of invention in the story and by the size of the wall, that he was disposed to undertake it; besides which, he was urged not a little by those who were his friends, on the ground that the work would establish him in that reputation which his talent deserved among the citizens, who did not know him, and among his fellow-craftsmen in Florence, where he was not known save by report.
During the many years of his sojourn in Genoa, although he drew both profit and pleasure from that city, Perino had grown weary of it, as he remembered Rome in the happy days of Leo.
For in Rome Polidoro, a painter, had a very different style to that of Balthazar, of Siena; M. Perino different from that of Julius, of Mantua; Martorino did not resemble Parmesano; Cavalliere Tiziano in Venice was softer than Leonardo da Vinci; the sprightliness of Raphael of Urbino and his softness does not resemble the work of Bastiāo Veneziano; your work does not resemble any other; nor is my small talent similar to any other.
Of such force were these and other words that Giorgio spoke lovingly to Perino, that they arrived at a just estimate, and satisfaction was given to Aristotile, who, with that money, with the payment for the picture sent, as was related at the beginning, to France, and with the savings from his salaries, returned joyously to Florence, notwithstanding that Michelagnolo, who was his friend, had intended to make use of him in the building that the Romans were proposing to erect on the Campidoglio.
After the designs of the same man, likewise, the glass windows were executed by Pastorino da Siena, an able master of that craft; and Perino caused the walls below to be prepared with very beautiful ornaments in stucco, intending to paint scenes there with his own hand, which were afterwards continued by the painter Daniello Ricciarelli of Volterra, who, if death had not cut short the noble aspirations that he had, would have proved how the moderns have the courage not only to equal the ancients with their works, but perhaps even to surpass them by a great measure.
There was in the city of Rome at that time the goldsmith Piloto, who was much the friend and intimate companion of Perino, and he was desirous of departing; and so one morning, as they were breakfasting together, he persuaded Perino to take himself off and go to Florence, on the ground that it was many years since he had been there, and that it could not but bring him great honour to make himself known there and to leave some example of his excellence in that city; saying also that, although Andrea de' Ceri and his wife, who had brought him up, were dead, nevertheless, as a native of that country, if he had no possessions there, he had his love for it.
Now, before the sack of Rome Perino had painted on the vaulting of the Chapel of the Crocifisso in S. Marcello, as has been related, the Creation of Adam and Eve in figures of the size of life, and in much larger figures two Evangelists, S. John and S. Mark, which were not yet completely finished, since the figure of S. John was wanting from the middle upwards; and the men of that Company resolved, when the affairs of Rome had finally become settled again, that the same Perino should finish the work.
But Ser Raffaello would never consent to take anything, only saying: "I would be fully paid by having a scrap of paper from your hand." Seeing him to be determined, Perino took about four braccia of coarse canvas, and, after having it fixed to the wall between two doors in the priest's little room, painted on it in a day and a night a scene coloured in imitation of bronze.
It happened one day that many craftsmen having assembled in his presence to do him honour, painters, sculptors, architects, goldsmiths, and carvers in wood and marble, who had gathered together according to the ancient custom, some to see Perino, to keep him company, and to hear what he had to say, many to learn what difference in practice there might be between the craftsmen of Rome and those of Florence, but most of them to hear the praise and censure that craftsmen are wont often to give to one another; it happened, I say, that thus discoursing together of one thing and another, and examining the works, both ancient and modern, in the various churches, they came to that of the Carmine, in order to see the chapel of Masaccio.
The same Perino having then caused Daniello to execute a frieze in the hall of the Palace of M. Agnolo Massimi, with many divisions in stucco and other ornaments, and stories of the actions of Fabius Maximus, he bore himself so well, that Signora Elena Orsina, having seen that work and hearing the ability of Daniello much extolled, commissioned him to paint her chapel in the Church of the Trinita in Rome, on the hill, where the Friars of S. Francesco di Paola have their seat.
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