the Pope while he was a Cardinal, came into even greater credit; and His
Holiness, having created his son, Signor Pier Luigi, Duke of Castro,
sent Antonio to make the designs of the fortress which that Duke caused
to be founded in that place; of the palace, called the Osteria, that is
on the Piazza; and of the Mint, built of travertine after the manner of
that in Rome, which is in the same place. Nor were these the only
designs that Antonio made in that city, for he prepared many others of
palaces and other buildings for various persons, both natives and
strangers, who erected edifices of such cost that it would seem
incredible to one who has not seen them, so ornate are they all, so
commodious, and built with so little regard for expense; which was done
by many, without a doubt, in order to please the Pope, seeing that even
by such means do many contrive to procure favours for themselves,
flattering the humour of Princes; and this is a thing not otherwise than
worthy of praise, for it contributes to the convenience, advantage, and
pleasure of the whole world.

Next, in the year in which the Emperor Charles V returned victorious
from Tunis, most magnificent triumphal arches were erected to him in
Messina, in Apulia, and in Naples, in honour of so great a victory; and
since he was to come to Rome, Antonio, at the commission of the Pope,
made a triumphal arch of wood at the Palace of S. Marco, of such a shape
that it might serve for two streets, and so beautiful that a more superb
or better proportioned work in wood has never been seen. And if in such
a work splendid and costly marbles had been added to the industry, art,
and diligence bestowed on its design and execution, it might have been
deservedly numbered, on account of its statues, painted scenes, and
other ornaments, among the Seven Wonders of the world. This arch, which
was placed at the end of the corner turning into the principal Piazza,
was of the Corinthian Order, with four round columns overlaid with
silver on each side, and capitals carved in most beautiful foliage,
completely overlaid with gold. There were very beautiful architraves,
friezes, and cornices placed with projections over every column; and
between each two columns were two painted scenes, insomuch that there
were four scenes distributed over each side, which, with the two sides,
made eight scenes altogether, containing, as will be described elsewhere
in speaking of those who painted them, the