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THERE was in the city of Florence one Giovanni Buonaccorsi, who
being young and highspirited, joined the service of Charles VIII.,
and spent all his property in the wars and in gambling. To him
was born a son named Piero, whose mother died of the plague wI
n he was only two months old, and he was brought up in great poverty,
being fed with goat's milk, until his father going to Bologna
took as his second wife a woman who had lost her first husband
and her sons of the plague. She nursed the little Piero, calling
him by the pet name of Pierino, and this name clung to him always.
His father afterwards brought him to Florence, and left him with
some of his relations there when he returned to France. He was
taken as he grew older by Andrea de' Ceri, a painter who was pleased
with his ways and looks. Andrea was a very ordinary painter, and
kept an open shop, working in public all sorts of mechanical things,
and he used to paint tapers every year for the feast of S. John,
by which he obtained the name of Andrea de' Ceri, and Perino for
a time was known as Perino de' Ceri. Andrea kept Perino for some
years, and taught him to the best of his power the principles
of art, but was forced when he reached the age of eleven years
to put him with a better master, and being intimate with Ridolfo,
son of Domenico Ghirlandaio, who had many youths in his workshop,
he put Perino with him. There was one among them named Toto del
Nunziata, who was a continual spur to urge him on, and Perino
competing with him was not long in becoming an excellent scholar.
There came at that time to Florence Il Vaga the Florentine, who
was working in Toscanella, and though he was not an excellent
master, work was abundant with him, and he needed helpers. Therefore,
seeing Perino working in Ridolfo's workshop, and superior to the
other scholars, being also a beautiful youth, and courteous, modest,
and gentle, he asked him if he would go with him to Rome. Perino
had such a great desire to attain a high rank in his profession
that when he heard of Rome his heart glowed, but he said he must
speak to Andrea de' Ceri, for he would not abandon him who had
helped him till that time. So Vaga persuaded Ridolfo and An~rea
to let him go, and took him with him to Toscanella, where he began
to work, and Perino to help him. And when Perino lamented that
the promise of taking him to Rome was delayed, and began to think
of going by himself, Vaga left his work and took him himself to
Rome; and when he would return to Toscanella he recommended Perino
to all the friends he had that they might help him, and so from
that time forward he was always called Perino del Vaga.
Perino, burning with the love of art and his desire to become
great in it, was forced to work like a day labourer, now with
one painter and now with another, but finding this very inconvenient
for his studies, he determined to work half the week for pay,
and to give the other half to study, reserving also all the feast
days and a great part of the nights. So he studied in the Pope's
chapel, taking Raffaello as his model, and learnt how to work
in stucco, and copied ancient marbles, stinting himself to the
utmost and begging his bread, if only he might through any
misery become excellent in his profession. And before long he
became the best draughtsman among those who were studying in Rome,
and Giulio Romano and Giovan Francesco, called Il Fattore, made
him known to their master, Raffaello. Now Raffaello was then working
at the loggie that Leo X. had ordered, and he had chosen in Rome
or brought thither many masters, a company of men of worth, to
work, some in stucco, some in grotesques, some on leaves, festoons,
and such things; and as soon as he found that any one did well,
he brought him forward and gave him better wages, and by this
means many youths were perfected who afterwards became well known.
Into this company Perino was brought, and soon showed himself
the best for drawing and colour. He always showed submission and
reverent obedience towards Raffaello, so that he was loved by
him as his own son. And his name becoming known, he was employed
by others, accomplishing many works in Rome and making himself
famous.
In the year 1523 the plague broke out in Rome, and Perino, to
save his life, determined to leave; and Piloto the goldsmith,
a friend of Perino's, being at table with him one day, persuaded
him to go with him to Florence. It was many years since he had
been there, but although Andrea de' Ceri and his wife were dead,
it was still dear to him as the place of his birth. So it was
not long before he and Piloto set off one morning and came to
Florence. And being arrived there, he found the greatest pleasure
in looking again at the old things painted by masters long dead,
which had been his study in his childish years, and also in seeing
the works of the masters then living.
One day it happened that many artists, sculptors, architects,
and goldsmiths, having met together according to the old custom
to do him honour, some wishing to see Perino and hear what he
had to say, and some wanting to see what was the difference between
the artists of Rome and those of Florence in their methods of
working, it happened, I say, that talking of one thing and another,
they came to the church of the Carmine to see Masaccio's chapel.
And each one considering it attentively, and adding his mite to
the praise of this great master, all affirmed that it was marvellous
that he who had seen nothing but Giotto's paintings should have
worked in so modern a style, and that even now there was no one
who could equal him in relief and in execution. This conversation
pleased Perino well, and he replied to the artists, "I do
not deny that what you say is true, and much more besides, but
that no one has equalled his manner, I deny; rather, I should
say, that I know many a one whose style is bolder and more graceful,
and I, who am not among the first in art-I am sorry that there
is no room here for me to paint a figure by the side of one of
these in fresco, that you may see if there is no one among the
moderns who can equal him." There was present a master who
was considered the first in Florence, and he being curious to
see Perino's work, and perhaps desirous to lower his pride, said,
"Although this side is full, yet as you have such a desire-certainly
a good and praiseworthy one--there is a space on the other side
where his S. Paul is, and you can easily show us what you say,
by painting another apostle by the side either of Masolino's S.
Peter or Masaccio's S. Paul." The S. Peter was nearest the
window, and there was more space there and better light, while
it was as fine a figure as the S. Paul. So they all urged Perino
to do it, because they wanted to see this Roman manner, and many
said he would be the means of ridding their minds of a fancy which
they had held to for scores of years, and if his was better they
would all run after the modern things. So Perino was persuaded
at last by hearing one of the masters say that he might paint
a figure in fresco in a fortnight, and they would spend years
in praising it, and he resolved to make the attempt. And the prior
of the convent was called, and courteously gave them leave to
paint in the place. And they took the measure of the space, the
height and the width, and departed.
Then Perino made a cartoon, choosing the apostle S. Andrew, and
finished it carefully, and had the scaffolding prepared for painting
it. But before his coming some of his friends, who had seen his
works in Rome, had procured for him a commission for a painting
in fresco. There were a number of men in the Camaldoli in Florence
who had formed themselves into a company called the Company of
the Martyrs; and they desired to have painted the story of those
martyrs who having been taken in battle were condemned by the
two Roman emperors to be crucified. And this had been entrusted
to Perino, who undertook it gladly, although the price was small,
for he thought it would bring him the consideration he deserved
among the citizens and artists in Florence. He made therefore
a small drawing, which was pronounced divine, and then began a
cartoon as large as the work. And when this was seen, all said
that nothing equal in beauty and drawing had been seen since Michael
Angelo had made his cartoon for the Council Hall.
Now Perino had long been friendly with a Ser Raffaello di Sandro,
a priest of S. Lorenzo, and he persuaded him to take up his quarters
with him, and Perino lodged there many weeks. But the plague began
to show itself in certain places in Florence, and Perino for fear
of it determined to depart. He wished first, however, to remunerate
Ser Raffaello, but he would not consent to take anything, saying,
"A scrap of paper from your hand would be enough." So
Perino took a thick piece of cloth about four braccia in size,
and fixed it to a wall, and painted on it in bronze colour in
a day and a night the Crossing of the Red Sea. And this he gave
to Ser Raffaello, who was as glad of it as if he had made him
prior of S. Lorenzo.
Then Perino departed from Florence, leaving the Martyrs unfinished,
to his great regret; mdeed, if it had been in any other place
than the Camaldoli he would have finished it, but that convent
had been set apart for the infected, and he chose rather to save
his life than to leave a fame of himself in Florence, having already
shown by his drawings what he was worth.
For many months he fled from place to place to escape the plague,
but when it had ceased he returned to Rome. Now after the death
of Raffaello it had been resolved to make Giulio Romano and Giovan
Francesco, called Il Fattore, directors of the works, that they
might divide the work among the other painters; but Perino showed
himself so excellent that they did not doubt he would be placed
above them, being also a disciple of Raffaello. They therefore
determined to attach him to their interests, and for that purpose
gave him the sister of Giovan Francesco to wife, and thus changed
their friendship into kinship.
And this lasted until in the year 1527 came the ruin of Rome,
and Perino, with his wife and his little girl hanging on his neck,
ran about from place to place seeking a shelter, and at last was
made prisoner. And they made him pay such a sum for his ransom
that he was nearly out of his mind; and even after the fury of
the sack was over, he was so much overwhelmed by his ruin that
he could do nothing in his art, until Il Baviera, who was the
only one who had not lost much, made him draw for him the Metamorphoses
of the Gods, which was engraved by Jacopo Caraglio.
But while he was in such misery there came to Rome Niccola Veniziano,
a servant of Prince Doria's, and he out of old friendship for
Perino persuaded him to go to Genoa, promising him that the prince,
who was a lover of painting, would give him work; and Perino was
not hard to persuade. So leaving his wife and child with their
relatives in Rome, he set out for Genoa, and was received with
great kindness by the prince. And the prince determined to make
a palace adorned with stucco and with pictures in fresco and oil;
and there Perino produced thosc works which are his best.
It is said that before his coming Girolamo da Trevigi had been
painting there, and when he saw Perino making cartoons and sketches
on different sheets of papers, and not beginning the work itself,
he began to raise a complaint against him, saying, "Cartoons,
nothing but cartoons! I carry my art at the end of my brush."
These words came to Perino's ears, and being angry, he caused
his cartoon to be fixed on the ceiling where he was to paint,
and taking away some of the scaffolding that it might be seen
from below, he opened the hall. And all Genoa ran to see the picture,
and were astonished at it. And among them came Girolamo da Trevigi,
and seeing what he had never expected to see from Perino's hand,
overwhelmed by its beauty, he departed from Genoa, without even
taking leave of Prince Doria, and returned to Bologna.
So Perino proceeded with his work, and adorned many of the rooms
with his paintings, and decorated the poops of Prince Doria's
galleys, and made many banners and standards, so that he was much
loved by the prince, and would have been greatly rewarded by him.
But while he was working there the fancy took him to fetch his
wife from Rome, and to buy himself a house in Pisa. He intended,
as he was growing old, to settle there, but the remembrance of
Rome in the happy days of Leo filled him with a great desire to
return, and one morning the whim took him and he left Pisa and
went to Rome.
Nevertheless for some months he was left without employment,
and was tempted to depart again; but his friends comforted him,
and bade him have patience, saying that Rome was no longer what
she had been. And after a time he was employed in the chapel of
the Pope, where Michael Angelo painted the Last Judgment, and
by degrees much work came into his hands.
But in his last works he followed the example of Raffaello, and
the designing of his works pleasing him more than the completing
of them, he gave them to others to carry out. He, however, who
would preserve his name should do the whole work himself. But
Perino had so many things entrusted to him that he was forced
to employ others; besides, he had now a thirst for gain rather
than glory, having prospered so ill in his youth. He acquired
such an influence that almost all the work in Rome was en~rusted
to him. But he had taken upon himself too great a burden, considering
his infirmtties. He had to work day and night, not only at great
works, but at drawings for embroidery, carving, and all kinds
of ornaments, so that he had not an hour of repose, except when
he sat with his friends at the tavern, which he held to be the
true blessedness of life. So, worn out with his labours and the
hardships of his life, he fell into a consumption, and one evening
while talking to a friend near his house he fell dead, at the
age of fortyseven.
