He was eminently skilled in ornamenting façades; in painting so as to represent real architecture, and basso-relievos of sacrifices, Bacchanalian scenes, and battles, which "serve to maintain the buildings sound and in good order, while they improve their appearance," according to Serlio.[293] He left fine specimens of this art at Siena and in Rome, where he was followed by Polidoro, who carried it to the summit of perfection. Peruzzi practised it at the Farnese palace in those pictures in green earth, with which he covered the outside, and still more in the internal decorations. Not to mention F. Sebastiano, Raffaello himself was employed in the same place: and in one apartment, finished without assistance, the celebrated Galatea. Baldassare painted the ceiling and the corbels with some fables of Perseus, and other heroes: the style is light, spirited, and resembles that of Raffaello, but is unequal to that of his model. Though inferior in figures he was not behind in some other branches. His imitation of stucco ornaments appears so relieved that even Titian was deceived by it, and found it necessary to change his point of view before he could be convinced of his error. A similar ocular deception is produced by the hall where a colonnade is represented, the intercolumniations of which make it appear much larger than it really is. This work induced Pietro Aretino to say, that the palace "contained no picture more perfect in its kind."[294] And if the scenes which he painted for the plays, represented in the Apostolical palace for the amusement of Leo X. had survived to our days, the perspective paintings of Peruzzi would have obtained greater fame than the Calandra of Card. da Bibbiena; and it would have been said of him, as of the ancient, that he discovered a new art, and brought it to perfection. The observation of Vasari, Lomazzo, and other old writers, that Peruzzi was not to be surpassed in perspective, has been recently confirmed by Sig. Milizia in the Memoirs of Architects. In this art he appears to me to have given the first and most classic examples. When I have occasion hereafter to notice celebrated perspectives in Rome, in Venice, or Bologna, we must recollect, that if others surpassed him in the vastness of their works, they never did so in their perfection. Maestro Riccio is praised in Siena as second to him in perspective, and was his scholar for some time; but afterwards he imitated the figures of his father-in-law.