as had been previously the custom; but Perino had acquitted himself so admirably in the execution of an escutcheon of the papal arms, which he had painted over the door of the Cardinal Cesarino, after a cartoon by Giulio Romano, that the last-named artist and Giovan Francesco both doubted whether Perino would not be preferred to themselves. For although they had the name of Raphael’s disciples, and had inherited the objects connected with art which he had left behind him, yet they had not also inherited the whole of that power and grace which he was accustomed to impart to his works. They therefore determined to attach Perino to their interests, and during the holy year of the jubilee, in 152.5 namely, they gave him Caterina, the sister of Giovan Francesco to wife, to the end that the perfect friendship which had for so long a period subsisted between them, might be changed into relationship. Perino then continued his usual avocations, and no long time after his marriage, the praises which were bestowed on the first work performed by him in the church of San Marcello, determined the prior of that convent, with certain chiefs or the brotherhood of the Crocifisso (who have built a chapel in the church for the purpose of celebrating the solemnities of their company therein), to entrust him with the decoration of the chapel in question, which they desired to see painted, and they commissioned Perino to execute the work accordingly, hoping to receive some excellent production at his hands.
Having caused the proper scaffolding to be erected therefore, Perino commenced his work; and in the ceiling, which is coved, he painted the story of Eve, created by God from the rib taken out of the side of Adam. In this painting the nude figure of Adam, which is one of surprising beauty, and manifests the perfection of art in the master, is seen lying deeply sunk in the profound sleep into which he has been cast, while Eve is standing upright, a most animated figure, who, with folded hands, is receiving the blessing of her Creator. The figure of the Almighty himself is depicted with the most sublime and majestic aspect that can be conceived; grand, grave, and solemn, the erect form is wrapped in the folds of most ample draperies, by the extremities of which the nude figures before him are partially clothed. On the right of the Creator are the two Evangelists,
