numerous works; some of these were in architecture, more especially the principal palace of that monarch,[1] by whom he was very largely remunerated.
This Toto and Perino, thus labouring in emulation of each other, devoted themselves to their studies with so much zeal that no long time had elapsed before they both became excellent in their art. Perino, moreover, drawing with other young people, Florentines and strangers alike, after the cartoon of Michelagnolo, acquired and maintained the first place among them all, thereby awakening those expectations which the admirable works, afterwards executed by him with so much art and excellence, so amply fulfilled.
Now at that time it happened that the Florentine painter Vaga made a visit to his native city of Florence. He was no very distinguished artist, and was executing coarse kinds of work at Toscanella, in the States of the Church; but he was overwhelmed with commissions, and requiring assistance, was disposed to take with him from Florence some youth, who might supply him with aid in design, wherein he felt himself to be wanting, as well as in other matters connected with his art; he also desired to find a shop-boy whom he might in like manner take with him. Vaga chanced to see Perino drawing with other young men in the bottega of Ridolfo, and was greatly astonished at the extent of that ability by which he perceived him to surpass all those around him. Nay, what is still more, this Vaga was equally pleased with the aspect and manners of Perino, who was a very beautiful youth, courteous, modest, and pleasing in his deportment, his whole person, in short, corresponding externally with the endowments of his mind: Vaga was indeed so greatly charmed with Perino, that he inquired at once if he would go with him to Rome, declaring moreover, that he would do all that he possibly could to secure his advancement in his studies, would confer on him all the benefits in his power, and would make such conditions with him as he should demand.
The desire of Perino for the attainment of perfection in his art was so powerful, that he no sooner heard the name of
- ↑ Lanzi speaks of this artist as “hut little known amongst us (the Italians) though considered by the English to be the best of the Italian artists who have visited their island during that century.” See History of Painting (English Edition), vol. i. p. 165.
