ed to employ many persons; and he
thirsted rather for gain than for glory, considering that he had thrown
away his life and had saved nothing in his youth. And it vexed him so
much to see young men coming forward to undertake work, that he sought
to enroll them all under his own command, to the end that they might not
encroach on his position. Now in the year 1546 there came to Rome the
Venetian Tiziano da Cadore, a painter highly celebrated for his
portraits, who, having formerly taken a portrait of Pope Paul at the
time when His Holiness went to Busseto, without exacting any
remuneration either for that or for some others that he had executed for
Cardinal Farnese and Santa Fiore, was received by those prelates with
the greatest honour in the Belvedere; at which a rumour arose in the
Court, and then spread throughout Rome, to the effect that he had come
in order to paint scenes with his own hand in the Hall of Kings in the
Palace, where Perino was to paint them and the stucco-work was already
in progress. This arrival caused much vexation to Perino, and he
complained of it to many of his friends, not because he believed that
Tiziano was likely to surpass him at painting historical scenes in
fresco, but because he desired to occupy himself with that work
peacefully and honourably until his death, and, if he was to do it, he
wished to do it without competition, the wall and the vaulting by
Michelagnolo in the Chapel close by being more than enough for him by
way of comparison. That suspicion was the reason that while Tiziano
stayed in Rome, Perino always avoided him, and remained in an ill-humour
until his departure.

The Castellan of the Castello di S. Angelo, Tiberio Crispo, who was
afterwards made a Cardinal, being a person who delighted in our arts,
made up his mind to beautify the Castle, and rebuilt loggie, chambers,
halls, and apartments in a very handsome manner, in order to be able to
receive His Holiness more worthily when he went there. Many rooms and
other ornaments were executed from the designs and under the direction
of Raffaello da Montelupo, and then in the end by Antonio da San Gallo,
and a loggia was wrought in stucco under the supervision of Raffaello,
who also made the Angel of marble, a figure six braccia high, which was
placed on the summit of the highest tower in the Castle. Tiberio then
caused the said loggia, which is the one facing the meadows, to be
painted by Girolamo Sermoneta; which finishe