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. Wherefore, after no long time, one
morning Perino and Piloto departed and set out on the way to Florence.
And when they had arrived there, Perino took the greatest pleasure in
seeing once again the old works painted by the masters of the past,
which had been as a school to him in the days of his boyhood, and
likewise those of the masters then living who were the most celebrated
and held to be the best in that city, in which, through the interest of
friends, a work was allotted to him, as will be related below. 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. There everyone gazed attentively at the paintings,
and many various opinions were uttered in praise of that master, all
declaring that they marvelled that he should have possessed so much
judgment as to be able in those days, without seeing anything but the
work of Giotto, to work with so much of the modern manner in the design,
in the colouring, and in the imitation of Nature, and that he should
have solved the difficulties of his art in a manner so facile; not to
mention that among all those who had worked at painting, there had not
as yet been one who had equalled him in strength of relief, in
resoluteness, and in mastery of execution.
This kind of discourse much pleased Perino, and to all those craftsmen
who spoke thus he answered in these words: "I do not deny that what you
say, and even more, may be true; but that there is no one among us who
can equal this manner, that I will deny with my last breath. Nay, I will
declare, if I may say it with the permission of the company, not in
contempt, but from a desire for the truth, that I know many both more
resolute and richer in grace, whose works are no less lifelike in the
painting than these, and even much more beautiful. And I, by your leave,
I who am not the first in this art, am grieved that there is no space
near these works wherein I might be able to paint a figure; for before
departing from Florence I would make a trial beside one of these
figures, likewise in fresco, to the end that you might see by comparison
whether there be not among the moderns one who has equalled him." Among
their number was a master who was held to be the first painter in
Florence; and he, being curious to see the work of Perino, and perhaps
wishing to lower his pride, put forward an idea of his own, which was
this: "Although," said he, "all the space here is full, yet, since you
have such a fancy, which is certainly a good one and worthy of praise,
there, on the opposite side, where there is the S. Paul by his hand, a
figure no less good and beautiful than any other in the chapel, is a
space in which you may easily prove what you say by making another
Apostle, either beside that S. Peter by Masolino or beside the S. Paul
of Masaccio, whichever you may prefer." The S. Peter was nearer the
window, and the space beside it was greater and the light better;
besides which, it was a figure no less beautiful than the S. Paul.
Everyone, therefore, urged Perino to do it, because they had a great
desire to see that Roman manner; besides which, many said that he would
be the means of taking out of their heads the fancy that they had nursed
in their minds for so many decades, and that if his figure should prove
to be the best all would run after modern works. 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. Perino, then,
undertook to make this attempt; and having summoned by common consent M.
Giovanni da Pisa, the Prior of the convent, they asked him for the space
for the execution of the work, which he granted to them with truly
gracious courtesy; and thus they took measurements of the space, with
the height and breadth, and went away.
An Apostle was then drawn by Perino in a cartoon, in the person of S.
Andrew, and finished with the greatest diligence; whereupon Perino,
having first caused the staging to be erected, was prepared to begin to
paint it. But before this, on his arrival in Florence, his many friends,
who had seen most excellent works by his hand in Rome, had contrived to
obtain for him the commission for that work in fresco which I mentioned,
to the end that he might leave some example of his handiwork in
Florence, which might demonstrate how spirited and how beautiful was his
genius for painting, and also to the end that he might become known and
perchance be set to work on some labour of importance by those who were
then governing. There were at that time certain craftsmen who used to
assemble in a company called the Company of the Martyrs, in the
Camaldoli at Florence; and they had proposed many times to have a wall
that was in that place painted with the story of the Martyrs being
condemned to death before two Roman Emperors, who, after they had been
taken in battle, caused them to be crucified in the wood and hanged on
trees. 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. Having then determined
to do the work, he accepted the undertaking and made a small design,
which was held to be a thing divine; and having set his hand to making a
cartoon as large as the whole work, he never left off labouring at it,
and carried it so far that all the principal figures were completely
finished. And so the Apostle was abandoned, without anything more being
done.
Perino drew this cartoon on white paper, well shaded and hatched,
leaving the paper itself for the lights, and executing the whole with
admirable diligence. In it were the two Emperors on the seat of
judgment, condemning to the cross all the prisoners, who were turned
towards the tribunal, some kneeling, some standing, and others bowed,
but all naked and bound in different ways, and writhing with piteous
gestures in various attitudes, revealing the trembling of the limbs at
the prospect of the severing of the soul from the body in the agony and
torment of crucifixion; besides which, there were depicted in those
heads the constancy of faith in the old, the fear of death in the young,
and in others the torture that they suffer from the strain of the cords
on their bodies and arms. And there could also be seen the swelling of
the muscles and even the cold sweat of death, all depicted in that
design. Then in the soldiers who were leading them there was revealed a
terrible fury, most impious and cruel, as they presented them at the
tribunal for condemnation and led them to the cross. The Emperors and
the soldiers were wearing cuirasses after the ancient manner and
garments very ornate and bizarre, with buskins, shoes, helmets, shields,
and other pieces of armour wrought with all that wealth of the most
beautiful ornamentation to which a craftsman can attain in imitating and
reproducing the antique, and drawn with the greatest lovingness,
subtlety, and delicacy that the perfection of art can display. When this
cartoon was seen by the craftsmen and by other judges of discernment,
they declared that they had never seen such beauty and excellence in
design since the cartoon drawn by Michelagnolo Buonarroti in Florence
for the Council Chamber; wherefore Perino acquired the greatest fame
that he could have gained in art. And while he was engaged in finishing
that cartoon, he amused himself by causing oil-colours to be prepared
and ground in order to paint for his dearest friend, the goldsmith
Piloto, a little picture of no great size, containing a Madonna, which
he carried something more than half-way towards completion.
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. This priest, then,
persuaded Perino to take up his quarters with him, seeing that he had no
one to cook for him or to keep house for him, and that during the time
that he had been in Florence he had stayed now with one friend and now
with another; wherefore Perino went to lodge with him, and stayed there
many weeks. Meanwhile the plague began to appear in certain parts of
Florence, and filled Perino with fear lest he should catch the
infection; on which account he determined to go away, but wished first
to recompense Ser Raffaello for all the days that he had eaten at his
table. 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. On this canvas, which was to serve as a
screen for the wall, he painted the story of Moses passing the Red Sea
and Pharaoh being submerged with his horses and his chariots; and Perino
painted therein figures in most beautiful attitudes, some swimming in
armour and some naked, others swimming while clasping the horses round
the neck, with their beards and hair all soaked, crying out in the fear
of death and struggling with all their power to escape. On the other
side of the sea are Moses, Aaron, and all the other Hebrews, male and
female, who are thanking God, and a number of vases that he
counterfeited, carried off by them from Egypt, varied and beautiful in
form and shape, and women with head-dresses of great variety. Which
finished, he left it as a mark of lovingness to Ser Raffaello, to whom
it was as dear as the Priorate of S. Lorenzo would have been. This
canvas was afterwards much extolled and held in estimation, and after
the death of Ser Raffaello it passed, together with his other
possessions, to his brother Domenico di Sandro, the cheesemonger.
Departing, then, from Florence, Perino abandoned the work of the
Martyrs, which caused him great regret; and certainly, if it had been in
any other place but the Camaldoli, he would have finished it; but,
considering that the officials of health had taken that very Convent of
Camaldoli for those infected with the plague, he thought it better to
save himself than to leave fame behind him in Florence, being satisfied
that he had proved how much he was worth in the design. The cartoon,
with his other things, remained in the possession of the goldsmith
Giovanni di Goro, his friend, who died in the plague; and after that it
fell into the hands of Piloto, who kept it spread out in his house for
many years, showing it readily as a very rare work to every person of
intelligence; but I do not know what became of it after the death of
Piloto.
Perino stayed for many months in various places, seeking to avoid the
plague, but for all this he never spent his time in vain, for he was
continually drawing and studying the secrets of art; and when the plague
had ceased, he returned to Rome and gave his attention to executing
little works of which I shall say nothing more. In the year 1523 came
the election of Pope Clement VII, which was the greatest of blessings
for the arts of painting and sculpture, which had been so kept down by
Adrian VI during his lifetime, that not only had nothing been executed
for him, but, as has been related in other places, not delighting in
them, or rather, holding them in detestation, he had brought it about
that no other person delighted in them, or spent money upon them, or
employed a single craftsman. Then, therefore, after the election of the
new Pontiff, Perino executed many works.
Afterwards it was proposed that Giulio Romano and Giovan Francesco,
called Il Fattore, should be made heads of the world of art in place of
Raffaello, who was dead, to the end that they might distribute the
various works to the others, according to the previous custom. But
Perino, in executing an escutcheon of the Pope in fresco over the door
of Cardinal Cesarino, after the cartoon of Giulio Romano, acquitted
himself so excellently well, that they doubted whether he would not be
preferred to themselves, because, although they were known as the
disciples of Raffaello and as the heirs to his possessions, they had not
inherited the whole of the art and grace that he used to give to his
figures with colours. Giulio and Giovan Francesco therefore made up
their minds to attach Perino to themselves; and so in the holy year of
Jubilee, 1525, they gave him Caterina, the sister of Giovan Francesco,
for wife, to the end that the perfect friendship which had been
maintained between them for so long might be converted into kinship.
Thereupon, continuing the works that he had in hand, no long time had
passed when, on account of the praises bestowed upon him for the first
work executed by him in S. Marcello, it was resolved by the Prior of
that convent and by certain heads of the Company of the Crocifisso,
which has a chapel there built by its members as a place of assembly,
that the chapel should be painted; and so they allotted this work to
Perino, in the hope of having some excellent painting by his hand.
Perino, having caused the staging to be erected, began the work; and in
the centre of the barrel-shaped vaulting he painted the scene when God,
after creating Adam, takes his wife Eve from his side. In this scene
Adam, a most beautiful naked figure painted with perfect art, is seen
lying overcome by sleep, while Eve, with great vivacity, rises to her
feet with the hands clasped and receives the benediction of her Maker,
the figure of whom is depicted grave in aspect and sublime in majesty,
standing with many draperies about Him, which curve round His nude form
with their borders. On one side, on the right hand, are two Evangelists,
S. Mark and S. John, the first of whom Perino finished entirely, and
also the second with the exception of the head and a naked arm. Between
these two Evangelists, by way of ornament, he made two little boys
embracing a candelabrum, which are truly of living flesh; and the
Evangelists, likewise, in the heads, the draperies, the arms, and all
that he painted in them with his own hand, are very beautiful.
While he was executing this work, he suffered many interruptions from
illness and from other misfortunes, such as happen every day to all who
live in this world; besides which, it is said that the men of the
Company also ran short of money. And so long did this business drag on,
that in the year 1527 there came upon them the ruin of Rome, when that
city was given over to sack, many craftsmen were killed, and many works
destroyed or carried away. Whereupon Perino, caught in that turmoil, and
having a wife and a baby girl, ran from place to place in Rome with the
child in his arms, seeking to save her, and finally, poor wretch, was
taken prisoner and reduced to paying a ransom, which hit him so hard
that he was like to go out of his mind. When the fury of the sack had
abated, he was so crushed down by the fear that still possessed him,
that all thought of art was worlds away from him, but nevertheless he
painted canvases in gouache and other fantasies for certain Spanish
soldiers; and after regaining his composure, he lived like the rest in
some poor fashion. 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. These were engraved on copper
by Jacopo Caraglio, an excellent engraver of prints, who acquitted
himself so well in the matter of these designs, that, preserving the
outlines and manner of Perino, and hatching the work with beautiful
facility, he sought also to impart to the engravings that grace and that
delicacy which Perino had given to the drawings.
While the havoc of the sack had destroyed Rome and driven away the
inhabitants and the Pope himself, who was living at Orvieto, not many
remaining in the city, and no business of any kind being done there,
there arrived in Rome one Niccola Viniziano, a rare and even unrivalled
master of embroidery, the servant of Prince Doria. He, moved by his
long-standing friendship with Perino, and being a man who always
favoured and wished well to the men of our arts, persuaded him to leave
that misery and set out for Genoa, promising that he would so go to work
with that Prince, who was a lover of art and delighted in painting, that
he would commission Perino to execute some big works, and saying,
moreover, that His Excellency had often told him that he would like to
have a suite of rooms adorned with handsome decorations. It did not take
much to persuade Perino, for he was oppressed by want and burning with
desire to leave Rome; and he determined to depart with Niccola. Having
therefore made arrangements for leaving his wife and daughter well cared
for by relatives in Rome, and having put all his affairs in order, he
set off for Genoa. Arriving there, and making himself known to that
Prince by means of Niccola, his coming was as welcome to His Excellency
as any agreeable experience that he had ever had in all his life. He was
received, therefore, with the greatest possible warmth and gladness, and
after many conversations and discussions they finally arranged that he
should begin the work; and they decided that he should execute a palace
adorned with stucco-work and with pictures in fresco, in oils, and of
every kind, which I will strive to describe as briefly as I am able,
with all the rooms, pictures, and general arrangement, saying nothing as
to where Perino first began to labour, to the end that I may not obscure
this work, which is the best of all those by his hand, with words.