Federigo having then finished the work of that house, it was universally extolled, and won him the name of an able painter. After that, Taddeo was ordered to repaint in the Sala de' Palafrenieri those Apostles which Raffaello had formerly executed there in terretta, and which had been thrown to the ground by Paul IV; and he, having painted one, caused all the others to be executed by his brother Federigo, who acquitted himself very well. Next, they painted together a frieze in fresco-colours in one of the halls of the Palace of the Araceli. Then, a proposal being discussed, about the same time that they were working at the Araceli, to give to Signor Federigo Borromeo as a wife the Lady Donna Virginia, the daughter of Duke Guidobaldo of Urbino, Taddeo was sent to take her portrait, which he did excellently well; and before he departed from Urbino he made all the designs for a credence, which that Duke afterwards caused to be made in clay at Castel Durante, for sending to King Philip of Spain. Having returned to Rome, Taddeo presented to the Pope that portrait, which pleased him well enough; but such was the discourtesy of that Pontiff, or of his ministers, that the poor painter was not recompensed even for his expenses.

In the year 1560 the Pope expected in Rome the Lord Duke Cosimo and the Lady Duchess Leonora, his consort, and proposed to lodge their Excellencies in the apartments formerly built by Innocent VIII, which look out upon the first court of the Palace and that of S. Pietro, and have in front of them loggie that look out on the piazza where the Benediction is given; and Taddeo received the charge of painting the pictures and some friezes that were to be executed there, and of overlaying with gold the new ceilings that had been made in place of the old ones, which had been consumed by time. In that work, which was certainly a great and important undertaking, Federigo, to whom his brother Taddeo gave the charge of almost the whole, acquitted himself very well; but he incurred a great danger, for, as he was painting grotesques in those loggie, he fell from a staging that rested on the main part of the scaffolding, and was near coming to an evil end.

No long time passed before Cardinal Emulio, to whom the Pope had given the charge of the matter, commissioned many young men, to the end that the work might be finished quickly, to paint the little palace that is in the wood of the Belvedere, which was begun in the time of Pope Paul IV with a most beautiful fountain and many ancient statues as ornaments, after an architectural design by Pirro Ligorio. The young men who worked (with great credit to themselves) in that place, were Federigo Barocci of Urbino, a youth of great promise, and Leonardo Cungi and Durante del Nero, both of Borgo San Sepolcro, who executed the apartments of the first floor. At the head of the staircase, which was made in a spiral shape, the first room was painted by Santi Titi, a painter of Florence, who acquitted himself very well; the larger room, which is beside the first, was painted by the above-named Federigo Zucchero, the brother of Taddeo; and the Sclavonian Giovanni dal Carso, a passing good master of grotesques, executed another room beyond it. But, although each of the men named above acquitted himself very well, nevertheless Federigo surpassed all the others in some stories of Christ that he painted there, such as the Transfiguration, the Marriage of Cana in Galilee, and the Centurion kneeling before Christ. And of two that were still wanting, one was painted by Orazio Sammacchini, a Bolognese painter, and the other by a certain Lorenzo Costa of Mantua. The same Federigo Zucchero painted in that place the little loggia that looks out over the fish-pond. And then he painted a frieze in the principal hall of the Belvedere (to which one ascends by the spiral staircase), with stories of Moses and Pharaoh, beautiful to a marvel; the design for which work, drawn and coloured with his own hand in a most beautiful drawing, Federigo himself gave not long since to the Reverend Don Vincenzio Borghini, who holds it very dear as a drawing by the hand of an excellent painter. In the same place, also, Federigo painted the Angel slaying the first-born in Egypt, availing himself, in order to finish it the quicker, of the help of many of his young men. But when those works came to be valued by certain persons, the labours of Federigo and the others were not rewarded as they should have been, because there are among our craftsmen in Rome, as well as in Florence and everywhere else, some most malignant spirits who, blinded by prejudice and envy, are not able or not willing to recognize the merits of the works of others and the deficiency of their own; and such persons are very often the reason that the young men of fine genius, becoming dismayed, grow cold in their studies and their work. After these works, Federigo painted in the Office of the Ruota, about an escutcheon of Pope Pius IV, two figures larger than life, Justice and Equity, which were much extolled; thus giving time to Taddeo, meanwhile, to attend to the work of Caprarola and the chapel in S. Marcello.

In the meantime his Holiness, wishing at all costs to finish the Hall of Kings, after the many contentions that had taken place between Daniello and Salviati, as has been related, gave orders to the Bishop of Forlì as to all that he wished him to do in the matter. Wherefore the Bishop wrote to Vasari (on the 3rd of September in the year 1561), that the Pope, wishing to finish the work of the Hall of Kings, had given him the charge of finding men who might once and for all take it off his hands, and that therefore, moved by their ancient friendship and by other reasons, he besought Giorgio to consent to go to Rome in order to execute that work, with the good pleasure and leave of his master the Duke, for the reason that, while giving satisfaction to his Holiness, he would win much honour and profit for himself; praying him to answer as soon as possible. Replying to which letter, Vasari said that, finding himself very well placed in the service of the Duke, and remunerated for his labours with rewards different from those that he had received from other Pontiffs in Rome, he intended to remain in the service of his Excellency, for whom he was at that very time to set his hand to a hall much greater than the Hall of Kings; and that there was no want in Rome of men who might be employed in that work. The above-named Bishop having received that answer from Vasari, and having conferred with his Holiness of the whole matter, Cardinal Emulio, immediately after receiving from the Pontiff the charge of having that Hall finished, divided the work, as has been related, among many young men, some of whom were already in Rome, and others were summoned from other places. To Giuseppe Porta of Castelnuovo della Garfagnana, a disciple of Salviati, were given two of the largest scenes in the Hall; to Girolamo Siciolante of Sermoneta, one of the large scenes and one of the small; to Orazio Sammacchini of Bologna one of the small scenes, to Livio da Forlì a similar one, and to Giovan Battista Fiorini of Bologna yet another of the small scenes. Which hearing, Taddeo perceived that he had been excluded because it had been said to the above-named Cardinal Emulio that he was a person who gave more attention to gain than to glory and working well; and he did his utmost with Cardinal Farnese to obtain a part of that work. But the Cardinal, not wishing to move in the matter, answered him that his labours at Caprarola should content him, and that it did not seem to him right that his own works should be neglected by reason of the rivalry and emulation between the craftsmen; adding also that, when a master does well, it is the works that give a name to the place, and not the place to the works. Notwithstanding this, Taddeo so went to work by other means with Emulio, that finally he was commissioned to execute one of the smaller scenes over a door, not being able, either by prayers or by any other means, to obtain the commission for one of the large scenes; and, in truth, it is said that Emulio was acting with caution in the matter, for the reason that, hoping that Giuseppe Salviati would surpass all the others, he was minded to give him the rest, and perchance to throw to the ground all that might have been done by the others. Now, after all the men named above had carried their works well forward, the Pope desired to see them all; and so, everything being uncovered, he recognized (and all the Cardinals and the best craftsmen were of the same opinion) that Taddeo had acquitted himself better than any of the others, although all had done passing well. His Holiness, therefore, commanded Signor Agabrio that he should cause Cardinal Emulio to commission him to execute one of the larger scenes; whereupon the head-wall was allotted to him, wherein is the door of the Pauline Chapel. And there he made a beginning with the work, but he did not carry it any farther, for, the death of the Pope supervening, everything was uncovered for the holding of the Conclave, although many of those scenes had not been finished. Of the scene that Taddeo began in that place, we have the design by his hand, sent to us by him, in the book of drawings that we have so often mentioned.

Taddeo painted at the same time, besides some other little things, a picture with a very beautiful Christ, which was to be sent to Caprarola for Cardinal Farnese; which work is now in the possession of his brother Federigo, who says that he desires it for himself as long as he lives. The picture receives its light from some weeping Angels, who are holding torches. But since the works that Taddeo executed at Caprarola will be described at some length in a little time, in discoursing of Vignuola, who built that fabric, for the present I shall say nothing more of them.

Federigo was meanwhile summoned to Venice, and made an agreement with the Patriarch Grimani to finish for him the chapel in S. Francesco della Vigna, which had remained incomplete, as has been related, on account of the death of the Venetian Battista Franco. But, before he began that chapel, he adorned for that Patriarch the staircase of his Palace in Venice, with little figures placed with much grace in certain ornaments of stucco; and then he executed in fresco, in the above-named chapel, the two stories of Lazarus and the Conversion of the Magdalene, the design of which, by the hand of Federigo, is in our book. Afterwards, in the altar-piece of the same chapel, Federigo painted the story of the Magi in oils. And then he painted some pictures in a loggia, which are much extolled, at the villa of M. Giovan Battista Pellegrini, between Chioggia and Monselice, where Andrea Schiavone and the Flemings, Lamberto and Gualtieri, have executed many works.

After the departure of Federigo, Taddeo continued to work in fresco all that summer in the chapel of S. Marcello; and for that chapel, finally, he painted in the altar-piece the Conversion of S. Paul. In that picture may be seen, executed in a beautiful manner, the Saint fallen from his horse and all dazed by the splendour and voice of Jesus Christ, whom he depicted amid a Glory of Angels, in the act, so it appears, of saying, "Saul, Saul, why persecutest thou Me?" His followers, who are about him, are likewise struck with awe, and stand as if bereft of their senses. On the vaulting, within certain ornaments of stucco, he painted in fresco three stories of the same Saint. In one he is being taken as a prisoner to Rome, and disembarks on the Island of Malta; and there may be seen how, on the kindling of the fire, a viper strikes at his hand to bite it, while some mariners, almost naked, stand in various attitudes about the barque; in another is the scene when a young man, having fallen from a window, is brought to S. Paul, who by the power of God restores him to life; and in the third is the Beheading and Death of the Saint. On the walls below are two large scenes, likewise in fresco; in one is S. Paul healing a man crippled in the legs, and in the other a disputation, wherein he causes a magician to be struck with blindness; and both the one and the other are truly most beautiful. But that work having been left incomplete by reason of his death, Federigo has finished it this year, and it has been thrown open to view with great credit to him. At this same time Federigo executed some pictures in oils, which were sent to France by the Ambassador of that kingdom.

The little hall in the Farnese Palace having remained unfinished on account of the death of Salviati (wanting two scenes, namely, at the entrance, opposite to the great window), Cardinal Sant'Agnolo, of the Farnese family, gave them to Taddeo to execute, and he carried them to completion very well. But nevertheless he did not surpass or even equal Francesco in the works executed by him in the same apartment, as certain envious and malignant spirits went about saying throughout Rome, in order to diminish the glory of Salviati by their foul calumnies; and although Taddeo used to defend himself by saying that he had caused the whole to be executed by his assistants, and that there was nothing in that work by his hand save the design and a few other things, such excuses were not accepted, for the reason that a man who wishes to surpass another in any competition, must not entrust the credit of his art to the keeping of feeble persons, for that is clearly the way to perdition. Thus Cardinal Sant'Agnolo, a man of truly supreme judgment in all things, and of surpassing goodness, recognized how much he had lost by the death of Salviati; for, although he was proud and even arrogant, and ill-tempered, in matters of painting he was truly most excellent. However, since the best craftsmen had disappeared from Rome, that lord, for want of others, resolved to entrust the painting of the Great Hall in that Palace to Taddeo, who accepted it willingly, in the hope of being able to prove by means of every effort how great were his ability and knowledge.

The Florentine Lorenzo Pucci, Cardinal Santiquattro, had formerly caused a chapel to be built in the Trinita, and all the vaulting to be painted by Perino del Vaga, with certain Prophets on the outer side, and two little boys holding the arms of that Cardinal. But the chapel remaining unfinished, with three walls still to be painted, when the Cardinal died, those fathers, without any regard for what was just and reasonable, sold that chapel to the Archbishop of Corfu; and it was afterwards given by that Archbishop to Taddeo to paint. Now although, out of respect for the church and from other reasons, it may have been well to find means of finishing the chapel, at least they should not have allowed the arms of the Cardinal to be removed from the part that was finished, only in order to place there those of the above-named Archbishop, which they could have set up in another place, instead of offering so manifest an affront to the memory of that good Cardinal. Having thus so many works on his hands, Taddeo was every day urging Federigo to return from Venice. That Federigo, after having finished the chapel for the Patriarch, was negotiating to undertake to paint the principal wall of the Great Hall of the Council, where Antonio Viniziano had formerly painted; but the rivalry and the contentions that he suffered from the Venetian painters were the reason that neither they, with all their interest, nor he, likewise, obtained it.

Meanwhile Taddeo, having a desire to see Florence and the many works which, so he heard, Duke Cosimo had carried out and was still carrying out, and the beginning that his friend Giorgio Vasari was making in the Great Hall; Taddeo, I say, pretending one day to go to Caprarola in connection with the work that he was doing there, went off to Florence for the Festival of S. John, in company with Tiberio Calcagni, a young Florentine sculptor and architect. There, to say nothing of the city, he found vast pleasure in the works of the many excellent sculptors and painters, ancient as well as modern; and if he had not had so many charges and so many works on his hands, he would gladly have stayed there some months. Thus he saw the preparations of Vasari for the above-named Hall—namely, forty-four great pictures, of four, six, seven, or ten braccia each—in which he was executing figures for the most part of six or eight braccia, with the assistance only of the Fleming Giovanni Strada and Jacopo Zucchi, his disciples, and Battista Naldini, in all which he took the greatest pleasure, and, hearing that all had been executed in less than a year, it gave him great courage. Wherefore, having returned to Rome, he set his hand to the above-named chapel in the Trinita, with the resolve that he would surpass himself in the stories of Our Lady that were to be painted there, as will be related presently.

Now Federigo, although he was pressed to return from Venice, was not able to refuse to stay in that city for the Carnival in company with the architect Andrea Palladio. And Andrea, having made for the gentlemen of the Company of the Calza a theatre in wood after the manner of a Colosseum, in which a tragedy was to be performed, caused Federigo to execute for the decoration of the same twelve large scenes, each seven feet and a half square, with innumerable other stories of the actions of Hyrcanus, King of Jerusalem, after the subject of the tragedy; in which work Federigo gained much honour, from its excellence and from the rapidity with which he executed it. Next, Palladio going to Friuli to found the Palace of Civitale, of which he had previously made the model, Federigo went with him in order to see that country; and there he drew many things that pleased him. Then, after having seen many things in Verona and in many other cities of Lombardy, he finally made his way to Florence, at the very time when festive preparations, rich and marvellous, were being made for the coming of Queen Joanna of Austria. Having arrived there, he executed, after the desire of the Lord Duke, a most beautiful and fanciful Hunt in colours on a vast canvas that covered the stage at the end of the Hall, and some scenes in chiaroscuro for an arch; all which gave infinite satisfaction. From Florence he went to Sant' Agnolo, to revisit his relatives and friends, and finally he arrived in Rome on the 16th of the January following; but he was of little assistance to Taddeo at that time, for the reason that the death of Pope Pius IV, followed by that of Cardinal Sant'Agnolo, interrupted the work of the Hall of Kings and that of the Farnese Palace. Whereupon Taddeo, who had finished another apartment of rooms at Caprarola, and had carried almost to completion the chapel in S. Marcello, proceeded to give his attention to the work of the Trinita, much at his leisure, and to execute the Passing of Our Lady, with the Apostles standing about the bier.

In the meantime, also, Taddeo had obtained for Federigo a chapel to be painted in fresco in the Church of the Reformed Priests of Jesus at the Obelisk of S. Mauro; and to that Federigo straightway set his hand. Taddeo, feigning to be angry because Federigo had delayed too long to return, appeared to care little for his arrival; but in truth he welcomed it greatly, as was afterwards seen from the result. For he was much annoyed by having to provide for his house (of which annoyance Federigo had been accustomed to relieve him), and by the anxious care of that brother who was employed as a goldsmith; but when Federigo came they put many inconveniences to rights, in order to be able to attend to their work with a quiet mind. The friends of Taddeo were seeking meanwhile to give him a wife, but he, being one who was accustomed to living free, and feared that which generally happens (namely, that he would bring into his house, together with the wife, a thousand vexatious cares and annoyances), could never make up his mind to it. Nay, attending to his work in the Trinita, he proceeded to make the cartoon of the principal wall, on which there was going the Ascension of Our Lady into Heaven; while Federigo painted a picture of S. Peter in Prison for the Lord Duke of Urbino; another, wherein is a Madonna in Heaven with some Angels about her, which was to be sent to Milan; and a third with a figure of Opportunity, which was sent to Perugia.

The Cardinal of Ferrara had kept many painters and masters in stucco at work at the very beautiful villa that he has at Tivoli, and finally he sent Federigo there to paint two rooms, one of which is dedicated to Nobility, and the other to Glory; in which Federigo acquitted himself very well, executing there beautiful and fantastic inventions. That finished, he returned to the work of the above-mentioned chapel in Rome, which he has carried to completion, painting in it a choir of many Angels and various Glories, with God the Father sending down the Holy Spirit upon the Madonna, who is receiving the Annunciation from the Angel Gabriel, while about her are six Prophets, larger than life and very beautiful. Taddeo, meanwhile, continuing to paint the Assumption of the Madonna in fresco in the Trinita, appeared to be driven by nature to do in that work, as his last, the utmost in his power. And in truth it proved to be his last, for, having fallen ill of a sickness which at first appeared to be slight enough, and caused by the great heat that there was that year, and which afterwards became very grave, he died in the month of September in the year 1566; having first, like a good Christian, received the Sacraments of the Church, and seen the greater part of his friends, and leaving in his place his brother Federigo, who was also ill at that time. And so in a short time, Buonarroti, Salviati, Daniello, and Taddeo having been taken from the world, our arts have suffered a very great loss, and particularly the art of painting.

Taddeo was very bold in his work, and had a manner passing soft and pastose, and very far removed from the hardness often seen. He was very abundant in his compositions, and he made his heads, hands, and nudes very beautiful, keeping them free of the many crudities over which certain painters labour beyond all reason, in order to make it appear that they understand anatomy and art; to which kind of men there often happens that which befell him who, from his seeking to be in his speech more Athenian than the Athenians, was recognized by a woman of the people to be no Athenian. Taddeo also handled colours with much delicacy, and he had great facility of manner, for he was much assisted by nature; but at times he sought to make too much use of it. He was so desirous of having something of his own, that he continued for a time to accept any sort of work for the sake of gain; but for all that he executed many, nay, innumerable works worthy of great praise. He kept a number of assistants in order to finish his works, for the reason that it is not possible to do otherwise. He was sanguine, hasty, and quick to take offence, and, in addition, much given to the pleasures of love; but nevertheless, although he was strongly inclined by nature to such pleasures, he contrived to conduct his affairs with a certain degree of decency, and very secretly. He was loving with his friends, and whenever he could help them he never spared himself.

At his death he left the work in the Trinita not yet uncovered, and the Great Hall in the Farnese Palace unfinished, and so also the works of Caprarola, but nevertheless these all remained in the hands of his brother Federigo, whom the patrons of the works are content to allow to give them completion, as he will do; and, in truth, Federigo will be heir to the talents of Taddeo no less than to his property. Taddeo was given burial by Federigo in the Ritonda of Rome, near the tabernacle where Raffaello da Urbino, his fellow-countryman, is buried; and certainly they are well placed, one beside the other, for the reason that even as Raffaello died at the age of thirty-seven and on the same day that he was born, which was Good Friday, so Taddeo was born on the first day of September, 1529, and died on the second day of the same month in the year 1566. Federigo is minded, if it should be granted to him, to restore the other tabernacle in the Ritonda, and to make some memorial in that place to his loving brother, to whom he knows himself to be deeply indebted.

Now, since mention has been made above of Jacopo Barozzi of Vignuola, saying that after his architectural designs and directions the most illustrious Cardinal Farnese has built his rich and even regal villa of Caprarola, let me relate that the same Jacopo Barozzi of Vignuola, a Bolognese painter and architect, who is now fifty-eight years of age, was placed in his childhood and youth to learn the art of painting in Bologna, but did not make much proficience, because he did not receive good guidance at the beginning. And also, to tell the truth, he had by nature much more inclination for architecture than for painting, as was clearly manifest even at that time from his designs and from the few works of painting that he executed, for there were always to be seen in them pieces of architecture and perspective; and so strong and potent in him was that inclination of nature, that he may be said to have learned almost by himself, in a short time, both the first principles and also the greatest difficulties, and that very well. Wherefore, almost before he was known, various designs with most beautiful and imaginative fantasies were seen to issue from his hand, executed for the most part at the request of M. Francesco Guicciardini, at that time Governor of Bologna, and for others of his friends; which designs were afterwards put into execution in tinted woods inlaid after the manner of tarsia, by Fra Damiano da Bergamo, of the Order of S. Domenico in Bologna. Vignuola then went to Rome to work at painting, and to obtain from that art the means to assist his poor family; and at first he was employed at the Belvedere with Jacopo Melighini of Ferrara, the architect of Pope Paul III, drawing some architectural designs for him. But afterwards, there being in Rome at that time an academy of most noble lords and gentlemen who occupied themselves in reading Vitruvius (among whom were M. Marcello Cervini, who afterwards became Pope, Monsignor Maffei, M. Alessandro Manzuoli, and others), Vignuola set himself in their service to take complete measurements of all the antiquities of Rome, and to execute certain works after their fancy; which circumstance was of the greatest assistance to him both for learning and for profit. Meanwhile Francesco Primaticcio, the Bolognese painter, of whom there will be an account in another place, had arrived in Rome, and he made much use of Vignuola in making moulds of a great part of the antiques in Rome, in order to take those moulds into France, and then to cast from them statues in bronze similar to the antiques; which work having been despatched, Primaticcio, in going to France, took Vignuola with him, in order to make use of him in matters of architecture and to have his assistance in casting in bronze the above-mentioned statues of which they had made the moulds; which things, both the one and the other, he did with much diligence and judgment. After two years had passed, he returned to Bologna, according to the promise made by him to Count Filippo Pepoli, in order to attend to the building of S. Petronio. In that place he consumed several years in discussions and disputes with certain others who were his competitors in the affairs there, without doing anything but design and cause to be constructed after his plans the canal that brings vessels into Bologna, whereas before that they could not come within three miles; than which work none better or more useful was ever executed, although Vignuola, the originator of an enterprise so useful and so praiseworthy, was poorly rewarded for it.

Pope Julius III having been elected in the year 1550, by means of Vasari Vignuola was appointed architect to his Holiness, and there was given to him the particular charge of conducting the Acqua Vergine and of superintending the works at the Vigna of Pope Julius, who took Vignuola into his service most willingly, because he had come to know him when he was Legate in Bologna. In that building, and in other works that he executed for that Pontiff, he endured much labour, but was badly rewarded for it. Finally Cardinal Alessandro Farnese, having recognized the genius of Vignuola, to whom he always showed much favour, desired, in carrying out the building of his Palace at Caprarola, that the whole work should spring from the fanciful design and invention of Vignuola. And, in truth, the judgment of that lord in making choice of so excellent an architect was no less than the greatness of his mind in setting his hand to an edifice so noble and grand, which, although it is in a place where it can be enjoyed but little by men in general, being out of the way, yet is none the less marvellous in its site, and very suitable for one who wishes at times to withdraw from the vexations and tumult of the city. This edifice, then, has the form of a pentagon, and is divided into four sets of apartments, without counting the front part, where the principal door is; in which front part is a loggia forty palms in breadth and eighty in length. On one side there curves in a round form a spiral staircase, ten palms wide across the steps, and twenty palms across the space in the centre, which gives light to the staircase, which curves from the base to the third or uppermost story; and these steps are all supported by double columns with cornices, which curve in a round in accordance with the staircase. The whole is a rich and well-varied work, beginning with the Doric Order, and continuing in the Ionic, the Corinthian, and the Composite, with a wealth of balusters, niches, and other fanciful ornaments, which make it a rare thing, and most beautiful. Opposite to this staircase—namely, at the other of the corners that are one on either side of the above-mentioned loggia of the entrance—there is a suite of rooms that begins in a circular vestibule equal in breadth to the staircase, and leads to a great hall on the ground floor, eighty palms long and forty broad. This hall is wrought in stucco and painted with stories of Jove—namely, his birth, his being nursed by the Goat Amaltheia, and her coronation, with two other stories on either side of the last-named, showing her being placed in the heavens among the forty-eight Heavenly Signs, and another similar story of the same Goat, which alludes, as also do the others, to the name of Caprarola. On the walls of this hall are perspective-views of buildings drawn by Vignuola and coloured by his son-in-law, which are very beautiful and make the room seem larger than it is. Beside this hall is a smaller hall of forty palms, which comes exactly at the next corner, and in it, besides the works in stucco, are painted things that are all significant of Spring. Continuing from this little hall towards the other angle (that is, towards the point of the pentagon, where a tower has been begun), one goes into three chambers, each forty palms broad and thirty long. In the first of these are various inventions executed in stucco and painting, representing Summer, to which season this first chamber is dedicated. In that which follows there is painted and wrought in the same manner the season of Autumn; and in the last, which is sheltered from the north, and decorated likewise in the same manner, there is represented in a similar kind of work the season of Winter.

So far we have spoken (with regard to the floor that is over the underground rooms of the basement, cut out of the tufa, where there are rooms for the servants, kitchens, larders, and wine-cellars) of the half of this pentagonal edifice—namely, of the part on the right hand. Opposite to that part, on the left hand, there are rooms exactly equal in number and of the same size. Within the five angles of the pentagon Vignuola has made a circular court, into which all the apartments of the edifice open with their doors; which doors, I mean, all open into the circular loggia surrounding the court, which is eighteen palms in breadth, while the diameter of the remaining space in the court is ninety-five palms and five inches. The pilasters of the loggia (which is divided up by niches), supporting the arches and the vaulting, are in couples, with a niche in the centre, and twenty in number; and each couple covers a breadth of fifteen palms, which is also the breadth of the space of the arches. Around the loggia, at the angles that form the shape of the round, are four spiral staircases, which lead from the basement of the palace up to the top, for the convenience of the edifice and of the rooms. And there are reservoirs that collect the rain-water, which feed a very large and beautiful cistern in the centre; to say nothing of the windows and innumerable other conveniences, which make this building appear to be, as indeed it is, a rare and most beautiful fabric. And, besides having the site and form of a fortress, it is furnished on the outer side with an oval flight of steps, with ditches all around, and with drawbridges made with beautiful invention and in a novel manner, which lead into gardens full of rich and well-varied fountains, graceful parterres of verdure, and, in short, all that is required for a truly regal villa.

Now, ascending by the great spiral staircase from the level of the court to the other apartment above, one finds already finished, over the part of which we have spoken, an equal number of rooms, and also the chapel, which is opposite to the principal round staircase on this floor. In the hall that is exactly above that of Jove, and of equal size, there are painted by the hands of Taddeo and his young men, with very rich and beautiful ornaments of stucco, the actions of the illustrious men of the House of Farnese. On the vaulting are compartments with six scenes, four square and two round, which follow right round the cornice of this hall, and in the centre are three ovals, accompanied along their length by two smaller and rectangular pictures, in one of which is painted Fame, and in the other Bellona. In the first of the three ovals is Peace, in the central oval the ancient arms of the House of Farnese, with the helmet-crest, above which is the Unicorn, and in the last is Religion. In the first of the six above-mentioned scenes, which is a round, is Guido Farnese, with many persons, all well executed, about him, and with this inscription below:

GUIDO FARNESIUS, URBIS VETERIS PRINCIPATUM CIVIBUS IPSIS DEFERENTIBUS ADEPTUS, LABORANTI INTESTINIS DISCORDIIS CIVITATI, SEDITIOSA FACTIONE EJECTA, PACEM ET TRANQUILLITATEM RESTITUIT, ANNO 1323.

In an oblong picture is Pietro Niccolò Farnese, who is delivering Bologna, with this inscription below:

PETRUS NICOLAUS, SEDIS ROMANÆ POTENTISSIMIS HOSTIBUS MEMORABILI PRÆLIO SUPERATIS, IMMINENTI OBSIDIONIS PERICULO BONONIAM LIBERAT, ANNO SALUTIS 1361.

In the rectangular picture next to this is Pietro Farnese, elected Captain of the Florentines, with this inscription:

PETRUS FARNESIUS, REIP. FLORENTINÆ IMPERATOR, MAGNIS PISANORUM COPIIS ... URBEM FLORENTIAM TRIUMPHANS INGREDITUR, ANNO 1362.

In the other round picture, which is opposite to that described above, is another Pietro Farnese, who routs the enemies of the Roman Church at Orbatello, with his inscription.

In one of the two other rectangular pictures, which are of equal size, is Signor Ranieri Farnese, elected General of the Florentines in place of the above-named Signor Pietro, his brother, with this inscription:

RAINERIUS FARNESIUS A FLORENTINIS DIFFICILI REIP. TEMPORE IN PETRI FRATRIS MORTUI LOCUM COPIARUM OMNIUM DUX DELIGITUR, ANNO 1362.

In the last picture is Ranuccio Farnese, chosen by Eugenius III as General of the Church, with this inscription:

RANUTIUS FARNESIUS, PAULI TERTII PAPÆ AVUS, EUGENIO TERTIO P.M. ROSÆ AUREÆ MUNERE INSIGNITUS, PONTIFICII EXERCITUS IMPERATOR CONSTITUITUR, ANNO CHRISTI 1435.

In short, there are on this vaulting vast numbers of most beautiful figures, besides the stucco-work and other ornaments overlaid with gold.

On the walls are eight scenes, two to each wall. On the first, in a scene on the right hand as one enters, is Pope Julius III confirming Duke Ottavio and the Prince his son in the possession of Parma and Piacenza, in the presence of Cardinal Farnese, Sant'Agnolo his brother, the Camarlingo Santa Fiore, the elder Salviati, Chieti, Carpi, Polo, and Morone, all being portraits from life; with this inscription:

JULIUS III, P.M., ALEXANDRO FARNESIO AUCTORE, OCTAVIO FARNESIO, EJUS FRATRI, PARMAM AMISSAM RESTITUIT, ANNO SALUTIS 1550.

In the second scene is Cardinal Farnese going to Worms as Legate to the Emperor Charles V, and his Majesty and the Prince, his son, are coming forth to meet him, with a vast multitude of Barons, and among them the King of the Romans; with the proper inscription. On the wall on the left hand as one enters, in the first scene, is the war fought against the Lutherans in Germany, where Duke Ottavio Farnese was Legate, in the year 1546, with the inscription; and in the second are the above-named Cardinal Farnese and the Emperor with his sons, who are all four under a baldachin carried by various persons portrayed from life, among whom is Taddeo, the master of the work, with a company of many lords all around. On one of the head-walls, or rather, ends, are two scenes, and between them an oval, in which is the portrait of King Philip, with this inscription:

PHILIPPO HISPANIARUM REGI MAXIMO, OB EXIMIA IN DOMUM FARNESIAM MERITA.

In one of the scenes is Duke Ottavio taking Madama Margherita of Austria as his wife, with Pope Paul III in the centre, and portraits of Cardinal Farnese the younger, the Cardinal of Carpi, Duke Pier Luigi, M. Durante, Eurialo da Cingoli, M. Giovanni Riccio of Montepulciano, the Bishop of Como, Signora Livia Colonna, Claudia Mancina, Settimia, and Donna Maria di Mendoza. In the other is Duke Orazio taking as his wife the daughter of King Henry of France, with this inscription:

HENRICUS II, VALESIUS, GALLORUM REX, HORATIO FARNESIO CASTRI DUCI DIANAM FILIAM IN MATRIMONIUM COLLOCAT, ANNO SALUTIS 1552.

In which scene, besides the portrait of Diana herself with the royal mantle, and that of her husband Duke Orazio, are portraits of Caterina de' Medici, Queen of France, Marguerite, the sister of the King, the King of Navarre, the Constable, the Duke of Guise, the Duke of Nemours, the Admiral Prince of Condé, the younger Cardinal of Lorraine, Guise not yet a Cardinal, Signor Piero Strozzi, Madame de Montpensier, and Mademoiselle de Rohan.

On the other head-wall, opposite to that already described, are likewise two other scenes, with the oval in the centre, in which is the portrait of King Henry of France, with this inscription:

HENRICO FRANCORUM REGI MAX. FAMILIÆ FARNESIÆ CONSERVATORI.

In one of the scenes (namely, in that which is on the right hand) Pope Paul III is investing Duke Orazio, who is kneeling, with a priestly robe, and making him Prefect of Rome, with Duke Pier Luigi close at hand, and other lords around; and with these words:

PAULUS III P.M. HORATIUM FARNESIUM NEPOTEM, SUMMÆ SPEI ADOLESCENTEM, PRÆFECTUM URBIS CREAT, ANNO SAL. 1549.

And in this scene are portraits of the Cardinal of Paris, Viseo, Morone, Badia, Trento, Sfondrato, and Ardinghelli. In the other scene, beside the last-named, the same Pope is giving the General's baton to Pier Luigi and his sons, who were not yet Cardinals; with portraits of the Pope, Pier Luigi Farnese, the Camarlingo, Duke Ottavio, Orazio, the Cardinal of Capua, Simonetta, Jacobaccio, San Jacopo, Ferrara, Signor Ranuccio Farnese as a young man, Giovio, Molza, Marcello Cervini, who afterwards became Pope, the Marquis of Marignano, Signor Giovan Battista Castaldo, Signor Alessandro Vitelli, and Signor Giovan Battista Savelli.

Coming now to the little hall which is beside the hall just described, and which is above the Hall of Spring, in the vaulting, which is adorned with a vast and rich decoration in stucco and gold, in the recess in the centre, there is the Coronation of Pope Paul III, with four spaces that form a cruciform inscription, with these words:

PAULUS III FARNESIUS, PONTIFEX MAXIMUS, DEO ET HOMINIBUS APPROBANTIBUS, SACRA TIARA SOLEMNI RITU CORONATUR, ANNO SALUTIS 1534, III NON. NOVEMB.

Then follow four scenes above the cornice—namely, one over every wall. In the first the Pope is blessing the galleys at Cività Vecchia, when about to send them to Tunis in Barbary in the year 1535. In the next the same Pope is excommunicating the King of England in the year 1537; with the proper inscription. In the third is a fleet of galleys which the Emperor and the Venetians fitted out against the Turk, with the authority and assistance of the Pontiff, in the year 1538. In the fourth, Perugia having rebelled against the Church, the people of that city go to seek pardon in the year 1540. On the walls of the same little hall are four large scenes, one to each wall, with windows and doors between. In the first large scene the Emperor Charles V, having returned victorious from Tunis, is kissing the feet of Pope Paul, of the Farnese family, in Rome, in the year 1535. In the next, which is above the door on the left hand, is the story of the peace that Pope Paul III brought about at Busseto between the Emperor Charles V and Francis I of France, in the year 1538; in which scene are these portraits—the elder Bourbon, King Francis, King Henry, the elder Lorenzo, Tournon, the younger Lorenzo, the younger Bourbon, and two sons of King Francis. In the third the same Pope is making Cardinal di Monte his Legate at the Council of Trent; and there are innumerable portraits. In the last, which is between two windows, the same Pontiff is creating many Cardinals in preparation for the Council, among whom there are four who became Popes in succession after him—Julius III, Marcello Cervini, Paul IV, and Pius IV. To put it briefly, this little hall is very richly adorned with all that is required in such a place.

In the first chamber next to the little hall, which is dedicated to Dress, and likewise richly wrought in stucco and gold, there is in the centre a Sacrifice, with three nude figures, among which is an armed figure of Alexander the Great, who is casting some garments of skin upon the fire; and in many other scenes that are in the same place, one sees how men discovered the way to make garments from plants and other wild products; but it would take too long to seek to describe the whole in full. From this chamber one enters into a second, dedicated to Sleep, for which, when Taddeo had to paint it, he received the inventions given below from the Commendatore Annibale Caro, at the commission of the Cardinal; and, to the end that the whole may be the better understood, we shall write here the advice of Caro in his own words, which are these—

"The subjects that the Cardinal has commanded me to give you for the pictures in the Palace of Caprarola, it is not enough for them to be explained by word of mouth, because, besides the invention, we must look to the disposition of the figures, the attitudes, the colours, and a number of other considerations, all in accordance with the descriptions that I find of the things that appear to me to be suitable; wherefore I shall put down on paper all that occurs to me in the matter, as briefly and as distinctly as I shall be able. And first with regard to the chamber with the flat vaulting—for of any other, up to the present, he has not given me the charge—it appears to me that since it is destined to contain the bed for the person of his most illustrious lordship, there must be executed there things in keeping with the place and out of the common both in the invention and in the workmanship. Now, to declare my conception first in general, I would have a Night painted there, because, besides that it would be appropriate to sleep, it would be a subject not very customary and different from those of the other rooms, and would give you an occasion of executing rare and beautiful works in your art, since the strong lights and dark shadows that go into such a subject are wont to give no little grace and relief to the figures; and it would please me to have the time of this Night close upon the dawn, to the end that the things represented there may be visible without improbability. And to come to the details and to their disposition, it is necessary that we come to an understanding first about the situation and the distribution of the chamber. Let us say, then, that it is divided, as indeed it is, into vaulting and walls, or façades, as we wish to call them. The vaulting has a sunk oval in the centre and four great spandrels at the corners, which, drawing together little by little and continuing one with the other along the façades, embrace the above-mentioned oval. The walls, also, are four, and between the spandrels they form four lunettes.

"Now, let us give names to all these parts, with the divisions that we shall make in the whole chamber, and we shall thus be able to distinguish each part on every side, all the way round. Dividing it into five sections, then, the first shall be the 'head'; and this I presume to be next to the garden. The second, which must be that opposite to the first, we shall call the 'foot'; the third, on the right hand, we shall call the 'right'; the fourth, on the left hand, the 'left'; and the fifth, situated in the midst of the others, shall be named the 'centre.' Thus, distinguishing all the parts with these names, we shall speak, for example, of the lunette at the head, the façade at the foot, the concavity on the left, the horn on the right, and so with any other part that it may be necessary to name; and to the spandrels that are at the corners, each between two of these boundaries, we shall give the name both of the one and of the other. And thus, also, we shall determine on the pavement below the situation of the bed, which, in my opinion, must be along the façade at the foot, with the head turned to the left-hand façade.

"Now, all the parts having received a name, let us turn to give a form to them all in general, and then to each by itself. First of all, the concavity of the vaulting, or rather, the oval, shall be represented—so the Cardinal has judiciously determined—as being all heaven. The rest of the vaulting, comprising the four spandrels together with the border that we have already mentioned as enclosing the oval all around, shall be made to appear as the unbroken surface within the chamber, and as resting upon the façades, with some beautiful architectural design of your own devising. The four lunettes I would have counterfeited as likewise concave; and, whereas the oval above represents a heaven, these must represent heaven, earth, and sea, as if without the chamber, in accordance with the various figures and scenes that shall be there. And since, the vaulting being very flat, the lunettes are so low that they will not hold any but little figures, I would divide each lunette into three parts along its length, and, leaving the ends in a line with the height of the spandrels, I would deepen the centre part below that line, in such a manner that it may be like a great high window and show the exterior of the room, as it were, with figures and scenes proportionate in size to the others. And the two extremities that remain on either side, like horns to the lunette—and horns henceforward they will be called—shall be left low, of the height that they are above that line, and in each of them must be painted a figure seated or recumbent, and seeming to be either within or without the room, whichever you please, for you must choose what looks best; and what I say of one lunette I say of all four.

"To return to the interior of the chamber as a whole, it appears to me that it should be in itself all in darkness, save in so far as the concavities both of the oval above and of the large windows at the sides may give it a certain degree of light, partly from the heaven, with its celestial lights, and partly from the earth with fires that must be painted there, as will be described later. At the same time, from the centre of the room to the lower end, I would have it that the nearer one may approach to the foot, where the Night is to be, the greater shall be the darkness, and that in like manner in the other half, from the centre to the upper end, in proportion as one approaches step by step to the head, where Aurora is to be, it shall grow continually lighter.

"Having thus disposed of the chamber as a whole, let us proceed to distribute the subjects, giving to each part its own. In the oval that is in the vaulting, you must paint at the head, as we have said, a figure of Aurora. This figure, I find, may be made in several ways, but of all these I shall choose that which in my opinion can be done with the greatest grace in painting. You must paint, then, a maiden of such beauty as the poets strive to express with words, composing her of roses, gold, purple, dew, and other suchlike graces; and so much for the colours and flesh-tints of her person. As for her dress, composing out of many one that appears most suitable, we must reflect that, even as she has three stages and three distinct colours, so she has three names—Alba, Vermiglia, and Rancia;[23] and for this reason I would make her down to the girdle a garment delicate in texture, as it were transparent, and white; from the girdle down to the knees an outer garment of scarlet, with certain pinkings and tassels in imitation of the reflections seen on the clouds when she is vermilion, and from the knees down to the feet of the colour of gold, in order to represent her when she is orange, taking heed that this dress must be slit from the thighs downwards, in order to show the bare legs; and both the under garment and the outer must be blown by the wind, so as to flutter in folds. The arms, also, must be naked and of a rosy flesh-tint; on the shoulders you must make her wings of various colours, and on the head a crown of roses; and in her hands you must place a lamp or a lighted torch, or rather, there must go before her a Cupid who is carrying a torch, and after her another who with another torch awakens Tithonus. She must be seated on a gilded throne in a chariot likewise gilded, drawn by a winged Pegasus or by two horses, for she is depicted both in the one way and in the other. As for the colours of the horses, one must be shining white and the other shining red, in order to denote them according to the names that Homer gives them of Lampus and Phaëthon. You must make her rising from a tranquil sea, which should appear rippled, luminous, and glancing. On the wall behind, upon the right-hand horn, you must paint her husband Tithonus, and on the left her lover Cephalus. Tithonus should be an old man white as snow, on an orange-coloured bed, or rather, in a cradle, according to those who make him, on account of his great age, once more a child; and he should be shown in the act of holding her back, or gazing on her with amorous eyes, or sighing after her, as if her departure grieved him. Cephalus must be a most beautiful young man dressed in a doublet girt at the waist, with his buskins on his feet, with the spear, which must have the iron head gilded, in his hand, and with a dog at his side, in the act of entering into a wood, as if caring nothing for her by reason of the love that he bears to his Procris. Between Cephalus and Tithonus, in the space with the great window, behind the Aurora, there must shoot upwards some few rays of the sun, of a splendour more vivid than that of the Aurora; but these must be cut off, so as not to be seen, by a large figure of a woman who must appear before them. This woman shall be Vigilance, and she must be so painted that it may appear that she is illumined from behind by the rising sun, and that, in order to forestall him, she is entering into the chamber by the great window that has been mentioned. Let her form be that of a tall, valorous, and splendid woman, with the eyes well open and the brows well arched; dressed down to the feet in a transparent veil, which is girt at the waist; leaning with one hand on a lance, and with the other gathering together a fold of her gown. Let her stand firmly on the right foot, and, holding the left foot suspended, appear from one side to be rooted to the ground, and from the other to be ready to step out. Let her raise her head in order to gaze at Aurora, and appear to be angry that she has risen before her; and let her have on the head a helmet with a cock upon it, which shall be in the act of beating its wings and crowing. All this must be behind the Aurora; and in front of her, in the heaven of the concave oval, I would make certain little figures of girls one behind another, some more bright and some less bright, according as they are more or less near to the light of the Aurora, in order to represent the Hours which go before her and the sun. These Hours shall be painted with the vestments, garlands, and headdresses of virgins, and winged, with the hands full of flowers, as if they were scattering these about.

"On the opposite side, at the foot of the oval, there shall be Night, and even as Aurora is rising, Night shall be sinking; as the one shows her front, the other shall turn her back; as the first is issuing from a tranquil sea, the second shall be plunging into a sea that is troubled and dark; the horses of the first come with the breast forward, those of the second shall show their croups; and so, also, the person of Night shall be altogether different from that of Aurora. Her flesh-tint shall be dark, dark her mantle, dark her hair, and dark her wings; and these shall be open, as if she were flying. She shall hold her hands on high, and in one a white babe that is sleeping, to represent Sleep, and in the other a black babe that appears to be sleeping, to represent Death; for of both these she is said to be the mother. She shall appear to be sinking with the head downwards and wrapped in thicker shadow, and the heaven about her shall be of a deeper blue and dotted with many stars. Her car shall be of bronze, with the wheels divided into four spaces, to denote her four watches. Then, on the façade opposite (namely, at the foot), even as Aurora has on either side Tithonus and Cephalus, Night shall have Oceanus and Atlas. Oceanus shall be painted on the right, a great figure of a man with the beard and hair dripping and dishevelled, and both from the beard and from the hair there shall issue here and there some heads of dolphins. He shall be depicted as resting on a car drawn by whales, with the Tritons all around in front of him, with their trumpets, and also the Nymphs, and behind him some beasts of the sea; or, if not with all these things, at least with some of them, according to the space that you will have, which to me appears little for so much matter. For Atlas, on the left hand, there shall be painted a mountain with the breast, arms, and all the upper parts of a robust man, bearded and muscular, in the act of upholding the heavens, as his figure is generally shown. Lower down, likewise, over against the Vigilance that we have placed opposite to Aurora, there should be placed a figure of Sleep; but, since it appears to me better, for several reasons, that Sleep should be over the bed, we must place in his stead a figure of Repose. As for this Repose, I find, indeed, that she was worshipped, and that temples were dedicated to her; but I can by no means find how she was figured, unless her figure was that of Security, which I do not believe, because security is a thing of the mind and repose of the body. We must therefore figure a Repose of our own devising, in this manner: a young maiden of pleasing aspect, who, being weary, yet does not lie down, but sleeps seated with the head resting on the left arm. She shall have a spear with the head lying against her shoulder and the foot fixed in the ground, and shall let one arm hang limply down it, and have one leg crossed over it, in the attitude of resting for the restoration of her strength, and not from indolence. She shall have a crown of poppies, and a sceptre laid on one side, but not so far distant that she cannot readily take it up again; and whereas Vigilance has upon her head a cock crowing, so to her we may give a sitting hen, in order to signify that even when resting she is active.

"Within the same oval, on the right hand, you shall paint a Moon. Her figure shall be that of a maiden of about eighteen years, tall and virginal in aspect, after the likeness of Apollo, with long tresses, thick and somewhat waved, or wearing on the head one of those caps that are called Phrygian, wide at the foot and pointed and twisted at the top, like the Doge's hat, with two wings over the brow that must hang down and cover the ears, and with two little horns jutting from the head, as of the crescent moon; or, after Apuleius, with a flat disk, polished and shining in the manner of a mirror, on the centre of the brow, which must have on either side of it some serpents and over it some few ears of corn, and on the head a crown of dittany, after the Greeks, or of various flowers, after Marcian, or of helichrysum, after certain others. Her dress some would have reaching down to the feet, others only to the knees, girt under the breasts and crossed below the navel after the fashion of a nymph, with a little mantle on the shoulder clasped over the muscle on the right side, and on the feet buskins wrought in a pleasing pattern. Pausanias, alluding, I believe, to Diana, makes her dressed in deerskin; Apuleius, taking her perchance for Isis, gives her a vestment of the finest veiling in various colours, white, yellow, and red, and another garment all black, but bright and shining, dotted with many stars and with a moon in the centre, and all around it a border with ornaments of fruits and flowers hanging down after the manner of tassels. Of these vestments, take whichever looks best. The arms you must make bare, with the sleeves broad; with the right hand she must hold a lighted torch, and with the left an unbent bow, which, according to Claudian, is of horn, and, according to Ovid, of gold. Make it as seems best to you, and attach the quiver to her shoulders. She is found in Pausanias with two serpents in the left hand, and in Apuleius she has a gilded vase with a serpent as a handle, which appears as if swollen with poison, the foot of the vase being adorned with palm leaves; but by this I believe that he means to indicate Isis, and I have therefore resolved that you shall represent her with the bow, as described above. She shall ride on a car drawn by horses, one black and the other white, or, if you desire variety, by a mule, after Festus Pompeius, or by bullocks, after Claudian and Ausonius; and if you choose bullocks, they must have the horns very small and a white patch on the right flank. The attitude of the Moon must be that of looking down from the heaven in the oval towards the horn of the façade that looks out over the garden, where you must place her lover Endymion, and she shall lean down from the car to kiss him, and, not being able by reason of the interposition of the border, she shall gaze lovingly upon him and illumine him with her radiance. For Endymion you must make a beautiful young shepherd, asleep at the foot of Mount Latmus. In the horn on the other side there shall be Pan, the God of Shepherds, who was enamoured of the Moon; his figure is very well known. Round his neck place his pipes, and with both hands he shall hold out towards the Moon a skein of white wool, with which he is fabled to have won her love; and with that present he must appear to be persuading her to come down to live with him. In the rest of the space of the same great window you must paint a scene, and that shall be the scene of the sacrifices to the Lemures, which men used to hold at night in order to drive evil spirits from their houses. The ritual of these sacrifices was to go about, with the hands washed and the feet bare, scattering black beans; first rolling them about in the mouth, and then throwing them over the shoulder; and among the company were some who made a noise by sounding basins and suchlike instruments of copper.

"On the left side of the oval you must paint Mercury in the ordinary manner, with the little winged cap, with the winged sandals on the feet, with the Caduceus in the left hand, and with the purse in the right; altogether nude, save for his little mantle on the shoulder; a most beautiful youth, but with a natural beauty, without any artifice; of a cheerful countenance, spirited eyes, beardless, or with the first down, with reddish hair, and narrow in the shoulders. Some place wings over his ears, and make certain golden feathers coming out of his hair. The attitude you may make as you please, provided only that it shows him gliding down from Heaven in order to infuse sleep, and, turning towards the side of the bed, about to touch the tester with his wand. On the left-hand façade, in the horn next to the façade at the foot, we might have the Lares, his two sons, who were the tutelary spirits of private houses; namely, two young men dressed in the skins of dogs, with certain garments girt up and thrown over the left shoulder in such a way that they may come out under the right, in order to signify that they are unencumbered and ready to guard the house. They shall sit one beside the other, each holding a spear in the right hand, and between them, in the centre, there shall be a dog, and above them a small head of Vulcan, wearing a little cap, with a smith's pincers beside it. In the other horn, next to the façade at the head, you must paint a Battus being converted into stone for having revealed the cattle stolen by Mercury. Let him be an old shepherd seated, showing with the forefinger of the right arm the place where the cattle were hidden, and leaning with the left arm on a stick or rod, the herdsman's staff; and from the waist downwards he must be of black stone of the colour of basanite, into which stone he was converted. Then in the rest of the great window you must paint the scene of the sacrifice that the ancients used to offer to Mercury to the end that their sleep might not be interrupted; and to represent this it is necessary to make an altar with his statue upon it, at the foot of that a fire, and all around persons who are throwing into it pieces of wood for burning, and who, having in their hands cups full of wine, are sprinkling part of the wine and drinking the rest.

"In the centre of the oval, in order to fill up all the space of the heaven, I would paint Twilight, as being the mean between Aurora and Night. To represent him, I find that one must paint a young man wholly naked, sometimes with wings and sometimes without, and with two lighted torches, one of which we must show being kindled at that of Aurora, and the other held out towards Night. Some represent this young man, with the same two torches, as riding on one of the horses of the Sun or of Aurora, but this would not be a composition suitable for our purpose; wherefore we shall make him as described above, turned towards Night, and place behind him, between his legs, a great star, which shall be that of Venus, because Venus, Phosphorus, Hesperus, and Twilight seem to be regarded as one and the same thing. And with the exception of this star, see to it that all the lesser stars near the Aurora shall have disappeared.

"Now, having by this time filled up all the exterior of the chamber both above in the oval and on the sides and façades, it remains for us to come to the interior, the four spandrels of the vaulting. Beginning with that over the bed, which is between the left-hand façade and that at the foot, you must paint Sleep there; and in order to figure him, you must first figure his home. Ovid places it in Lemnos and among the Cimmerii, Homer in the Ægean Sea, Statius among the Ethiopians, and Ariosto in Arabia. Wherever it may be, it is enough to depict a mountain, such an one as may be imagined where there is always darkness and never any sun; at the foot of it a deep hollow, through which water shall pass, as still as death, in order to signify that it makes no murmur, and this water must be of a sombre hue, because they make it a branch of Lethe. Within this hollow shall be a bed, which, being fabled to be of ebony, shall be black in colour and covered with black draperies. In this bed shall be placed Sleep, a young man of perfect beauty, for they make him surpassing beautiful and serene; nude, according to some, and according to others clothed in two garments, one black below and another white over it, with wings on the shoulders, and, according to Statius, also at the top of the head. Under his arm he shall hold a horn, which shall appear to be spilling a liquid of a livid hue over the bed, in order to denote Oblivion; although others make the horn full of fruits. In one hand he shall hold the wand, and in the other three poppy-heads. He shall be sleeping like one sick, with the head and the limbs hanging limp, as if wholly relaxed in slumber. About his head shall be seen Morpheus, Icelus, and Phantasus, and a great number of Dreams, all which are his children. The Dreams shall be little figures, some of a beautiful aspect and others hideous, as being things that partly please and partly terrify. Let them, likewise, have wings, and also twisted feet, as being unstable and uncertain things, and let them hover and whirl about him, making a kind of dramatic spectacle by transforming themselves into things possible and impossible. Morpheus is called by Ovid the creator and fashioner of figures, and I would therefore make him in the act of fashioning various masks with grotesque faces and placing some of them on feet. Icelus, they say, transforms himself into many shapes, and him I would figure in such a way that as a whole he may have the appearance of a man, and yet may have parts of a wild beast, of a bird, and of a serpent, as the same Ovid describes him. Phantasus, they have it, transforms himself into various inanimate things, and him, also, we may represent, after the words of Ovid, partly of stone, partly of water, and partly of wood. You must feign that in this place there are two gates, one of ivory, whence there issue the false dreams, and one of horn, whence the true dreams come; the true shall be more distinct in colour, more luminous, and better executed, and the false shall be confused, sombre, and imperfect.

"In the next spandrel, between the façade at the foot and that on the right hand, you shall place Brizo, the Goddess of prophecy and the interpretress of dreams. For her I cannot find the vestments, but I would make her in the manner of a Sibyl, seated at the foot of the elm described by Virgil, under the branches of which are placed innumerable images, which, falling from those branches, must be shown flying about her in the forms that we have given them; as has been related, some lighter and some darker, some broken and some indistinct, and others almost wholly invisible; in order to represent by these the dreams, the visions, the oracles, the phantasms, and the vain things that are seen in sleep (for into these five kinds Macrobius appears to divide them); and she shall be as it were lost in thought, interpreting them, and shall have about her persons offering to her baskets filled with all manner of things, excepting only fishes.

"In the spandrel between the right-hand façade and that at the head it will be well to place Harpocrates, the God of Silence, because this, presenting itself at the first glance before those who enter by the door that leads from the great painted chamber, will warn them as they enter that they must not make any noise. His figure is that of a young man, or rather, of a boy, black in colour, from his being God of the Egyptians, and with his finger to his mouth in the act of commanding silence. He shall carry in his hand a branch of a peach-tree, and, if you think it well, a garland of the leaves of the same tree. They feign that he was born weak in the legs, and that, having been killed, his mother Isis restored him to life; and for this reason some make him stretched out on the ground, and others in the lap of his mother, with the feet joined together. But, for the sake of harmony with the other figures, I would make him standing, supported in some way, or rather, seated, like that of the most illustrious Cardinal Sant'Agnolo, which is likewise winged and holds a horn of plenty. He shall have about him persons offering to him, as was the custom, first-fruits of lentils and other vegetables, and also of peaches, as mentioned above. Others used to make for this same God a figure without a face, with a little cap on the head, and about him a wolf's skin, all covered with eyes and ears. Take which of these two you please.

"In the last spandrel, between the façade at the head and that on the left, it will be well to place Angerona, the Goddess of Secrecy, which figure, coming within the same door of entrance, will admonish those who come out of the chamber to keep secret all that they have seen and heard, as is the duty of the servants of noblemen. The figure is that of a woman placed upon an altar, with the mouth bound and sealed. I know not with what vestments she used to be depicted, but I would envelop her in a long gown covering her whole person, and would represent her as shrugging her shoulders. Around her there must be painted some priests, by whom sacrifices used to be offered to her before the gate in the Curia, to the end that it might be unlawful for any person to reveal to the prejudice of the Republic any matter that might be discussed there.

"The space within the spandrels being filled up, it now only remains to say that around all this work it seems to me that there should be a frieze to encircle it on every side, and in this I would make either grotesques or small scenes with little figures. The matter of these I would have in harmony with the subjects already given above, each in accord with that nearest to it; and if you paint little scenes, it would please me to have them representing the actions that men and also animals do at the hour that we have fixed there. Now, beginning at the head, I would paint in the frieze of that façade, as things appropriate to the Dawn, artisans, workmen, and persons of various kinds who, having risen, are returning to the labours of their pursuits—as smiths to the forge, men of letters to their studies, huntsmen to the open country, and muleteers to the road, and above all would I like to have the poor old woman from Petrarca rising from her spinning and lighting the fire, with her feet bare and her clothes dishevelled. And if you think fit to make grotesques of animals there, make them of birds singing, geese going forth to their pasture, cocks announcing the day, and similar fancies. In the frieze on the façade at the foot, in accord with the darkness there, I would make persons going fowling by night, spies, adulterers, climbers of windows, and other suchlike things; and for grotesques, porcupines, hedgehogs, badgers, a peacock with the tail spread, signifying the night of stars, owls large and small, bats, and suchlike animals. In the frieze on the right-hand façade you must paint things in keeping with the Moon, such as fishers of the night, mariners navigating with the compass, necromancers, witches, and the like; for grotesques, a beacon-tower in the distance, nets, weir-baskets with some fishes in them, crabs feeding by the light of the moon, and, if there be space enough, an elephant kneeling in adoration of her. And, finally, in the frieze on the left-hand façade, mathematicians with their instruments for measuring, thieves, false-coiners, robbers of buried treasure, shepherds with their folds still closed, lying around their fires, and the like; and for animals I would make there wolves, foxes, apes, weasels, and any other treacherous animals that lie in wait for other creatures.

"In this part I have placed these phantasies thus at random in order to suggest what kinds of inventions could be painted there; but, since they are not things that need to be described, I leave you to imagine them in your own manner, knowing that painters are by their nature full of resource and grace in inventing such bizarre fantasies. And now, having filled in all the parts of the work both within and without the chamber, there is no occasion for us to say any more, save that you must discuss the whole matter with the most illustrious Monsignore, and, according to his taste, adding or taking away whatever may be necessary, you must strive on your part to do yourself honour. Fare you well."

Now, although all these beautiful inventions of Caro's were very ingenious, fanciful, and worthy of praise, nevertheless Taddeo was not able to carry into execution more than the place would contain; but those that he painted there were the greater part, and they were executed by him with much grace and in a most beautiful manner. Next to this chamber, in the last of the three, which is dedicated to Solitude, Taddeo, with the help of his assistants, painted Christ preaching to the Apostles in the desert and in the woods, with a S. John on the right hand that is very well executed. In another scene, which is opposite to the first, are painted many figures of men who are living in the forest in order to avoid the conversation of mankind; and these certain others are seeking to disturb, throwing stones at them, while some are plucking out their own eyes so as not to see. And in this scene, likewise, is painted the Emperor Charles V, portrayed from life, with this inscription—

POST INNUMEROS LABORES OCIOSAM QUIETAMQUE VITAM TRADUXIT.

Opposite to Charles is the portrait of the last Grand Turk, who much delighted in solitude, with these words—

ANIMUM A NEGOCIO AD OCIUM REVOCAVIT.

Near him is Aristotle, who has beneath him these words—

ANIMA FIT SEDENDO ET QUIESCENDO PRUDENTIOR.