By this time Michelagnolo Buonarroti had uncovered the wall with the Last Judgment in the Papal Chapel, and there remained still unpainted the base below, where there was to be fixed a screen of arras woven in silk and gold, like the tapestries that adorn the Chapel. Wherefore, the Pope having ordained that the weaving should be done in Flanders, it was arranged with the consent of Michelagnolo that Perino should begin to paint a canvas of the same size, which he did, executing in it women, children and terminal figures, holding festoons, and all very lifelike, with the most bizarre things of fancy; but this work, which was truly worthy of him and of the divine picture that it was to adorn, remained unfinished after his death in some apartments of the Belvedere. After this, Antonio da San Gallo having finished the building of the Great Hall of Kings in front of the Chapel of Sixtus IV in the Papal Palace, Perino divided the ceiling into a large pattern of octagonal compartments, crosses, and ovals, both sunk and in relief; which done, Perino was also commissioned to adorn it with stucco-work, with the richest and most beautiful ornaments that could be produced by all the resources of that art. He thus began it, and in the octagons, in place of rosettes, he made four little boys in full relief, who, with their feet pointing to the centre and their arms forming a circle, make a most beautiful rosette, and in the rest of the compartments are all the devices of the house of Farnese, with the arms of the Pope in the centre of the vaulting. And this work in stucco may be said with truth to have surpassed in mastery of execution, in beauty, and in delicacy, all those that have ever been done by ancients or moderns, and to be truly worthy of the head of the Christian religion. After the designs of the same man, likewise, the glass windows were executed by Pastorino da Siena, an able master of that craft; and Perino caused the walls below to be prepared with very beautiful ornaments in stucco, intending to paint scenes there with his own hand, which were afterwards continued by the painter Daniello Ricciarelli of Volterra, who, if death had not cut short the noble aspirations that he had, would have proved how the moderns have the courage not only to equal the ancients with their works, but perhaps even to surpass them by a great measure.