well as more grace, and whose works in painting are no less animated than these, rather, they are more beautiful; and I am sorry, give me leave to say, I, who am not the first in our vocation, that there is no vacant space in the immediate vicinity of these works, where I might have means to depict a figure, whereby, before my departure from Florence, I might, by way of trial, and beside one of these, prepare a painting, to be, like them, in fresco, from which you might judge whether it be or be not true that there is no one among the modern artists who may venture to compare himself with Masaccio.”
Now among the persons thus assembled in the Carmine was one who had the reputation of being the first master of painting in Florence, and being curious to see a work by Perino, perhaps also wishing to pull down the pride of that artist, he replied with a thought of his own, which was this: “Although every part of the space here is filled (said he), yet as you have this desire, which is certainly a good and commendable one, and there is a San Paolo by the hand of Masaccio immediately opposite, which is no less beautiful and meritorious than any that could be chosen from this chapel, so may you very easily there proceed to show us what you have said (since there space may be found), by the execution of another apostle, either beside the San Pietro of Masolino or the San Paolo of Masaccio, whichever you may prefer.”
But the San Pietro was nearer to the window than the San Paolo, and had more ample space beside it, as well as a better light, besides which the figure was no less beautiful than that of San Paolo; wherefore all encouraged Perino to do as he had said, since they would all greatly rejoice to see this manner of Rome, some adding the remark, that he would thus be the means of taking out of their heads the fancy which they had been nursing for so many tens of years, and declaring that if his work should prove to be the best, they would all hasten to adopt the new manner.
Thereupon, being persuaded by that master, who told him at last that he ought not to refuse the request and disappoint the expectation of so many distinguished men, seeing that it would only cost him fourteen days to paint a figure in fresco, whereas they on their part were prepared to spend
