grottesche, being given to understand at the same time, that accordingly as he should acquit himself so would he be employed by Giovanni. Incited by emulation therefore, and working to give proof of what he could do, many months had not elapsed before Perino was accounted the first among all who were there employed, whether for design or colouring; the best in short, the most graceful in manner, and most delicate in finish, executing both figures and grottesche with more facility and animation than any other artist. And that this was indeed the fact is amply proved in the stories, festoons, and grottesche by his hand, which appear in this work, and which not only surpass all the rest, but are moreover much more faithful to the designs and sketches which were prepared for them by Raphael.[1] This may be clearly seen from a certain portion of the stories which are on the centre of the vaulting in that Loggia wherein are depicted the Hebrews crossing the river Jordan with the Ark of the Covenant, as also in that picture wherein the Jews are seen to be compassing about the walls of Jericho, those walls being in the very act of falling as they proceed, and in the representations which follow, one of which exhibits Joshua, when, in conflict with the Amorites, he commands the sun to stand still.
The best figures among those painted to imitate bronze in the basement, are in like manner by Perino, that of Abraham about to sacrifice his son Isaac for example, Jacob wrestling with the Angel, Joseph receiving his Brethren, the Fire which descends from heaven to consume the sons of Levi, and many others which I do not further enumerate, because their number is too great, and also because they are readily to be distinguished from the rest without this enumeration. Near the entrance of the loggia likewise, and where the stories from the New Testament are depicted, Perino executed the Birth of our Lord, with his Baptism and the Last Supper, all which are exceedingly beautiful,[2] as are also the paintings
- ↑ These grottesche and works in stucco have been engraved in part by Pietro Santi Bartoli.—Bottari.
- ↑ Bottari remarks that this passage proves the opinion entertained of Raphael’s having himself painted this part of the Loggia to be false, and adds that his not having done so may also be perceived by the manner, which is not that of Raphael.
