I say, then, that Perino, by reason of the number of the labours committed to his care, was forced 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.