s it
might be possible.

Having carried this intention into execution, he began to draw in the
Chapel of Pope Julius, where the vaulting had been painted by
Michelagnolo Buonarroti, following both his methods and the manner of
Raffaello da Urbino. And then, going on to the ancient works in marble
and also to the grotesques in the grottoes under the ground, which
pleased him through their novelty, he learned the methods of working in
stucco, gaining his bread meanwhile by grievous labour, and enduring
every hardship in order to become excellent in his profession. Nor had
any long time passed before he became the best and most finished
draughtsman that there was among all who were drawing in Rome, for the
reason that he had, perhaps, a better knowledge of muscles and of the
difficult art of depicting the nude than many others who were held to be
among the best masters at that time; which was the reason that he became
known not only to the men of his profession, but also to many lords and
prelates. And, in particular, Giulio Romano and Giovan Francesco, called
Il Fattore, disciples of Raffaello da Urbino, having praised him not a
little to their master, roused in him a desire to know Perino and to see
his works in drawing; which having pleased him, and together with his
work his manner, his spirit, and his ways of life, he declared that
among all the young men that he had known, Perino would attain to the
highest perfection in that art.

Meanwhile Raffaello da Urbino had built the Papal Loggie, by the command
of Leo X; and the same Pope ordered that Raffaello should also have them
adorned with stucco, painted, and gilded, according as it should seem
best to him. Thereupon Raffaello placed at the head of that enterprise,
for the stucco-work and the grotesques, Giovanni da Udine, who was very
excellent and without an equal in such works, but mostly in executing
animals, fruits, and other little things. And since he had chosen in
Rome and summoned from other parts a great number of masters, he had
assembled together a company of men each very able at his own work, one
in stucco, another in grotesques, a third in foliage, a fourth in
festoons, another in scenes, and others in other things; and according
as they improved they were brought forward and paid higher salaries, so
that by competing in that work many young men attained to great
perfection, who were afterwards held to be excellent in their various
fields of art. Amon