BELLA DETA UXOR MOESTISS.
POSUIT 1546, III. CALEND. OCTOBRIS.

And in truth Antonio, who was a most excellent architect, deserves to be
celebrated and extolled, as his works clearly demonstrate, no less than
any other architect, whether ancient or modern.

FOOTNOTE:

[24] The "palma" as used here is equal to about nine inches.

[25] The "canna" is equal to four braccia.

GIULIO ROMANO

LIFE OF GIULIO ROMANO

PAINTER

Among his many, or rather innumerable, disciples, the greater number of
whom became able masters, Raffaello da Urbino had not one who imitated
him more closely in manner, invention, design, and colouring, than did
Giulio Romano, nor one who was better grounded, more bold, resolute,
prolific, and versatile, or more fanciful and varied than Giulio; not to
mention for the present that he was very pleasant in his conversation,
gay, amiable, gracious, and supremely excellent in character. These
qualities were the reason that he was so beloved by Raffaello, that, if
he had been his son, he could not have loved him more; wherefore it came
to pass that Raffaello always made use of him in his most important
works, and, in particular, in executing the Papal Loggie for Leo X; for
after Raffaello had made the designs for the architecture, the
decorations, and the scenes, he caused Giulio to paint many of the
pictures there, among which are the Creation of Adam and Eve, that of
the animals, the Building of Noah's Ark, his Sacrifice, and many other
works, which are known by the manner, such as the one in which the
daughter of Pharaoh, with her ladies, finds Moses in the little ark,
which had been cast adrift on the river by the Hebrews--a work that is
marvellous on account of a very well executed landscape. Giulio also
assisted Raffaello in painting many things in that apartment of the
Borgia Tower which contains the Burning of the Borgo, more particularly
the base, which is painted in the colour of bronze, with the Countess
Matilda, King Pepin, Charlemagne, Godfrey de Bouillon, King of
Jerusalem, and other benefactors of the Church--all excellent figures;
and prints of a part of this scene, taken from a drawing by the hand of
Giulio, were published not long since. The same Giulio also executed
the greater part of the scenes in fresco that are in the Loggia of
Agostino Chigi; and he worked in oils on a very beautiful picture of S.
Elizabeth, which was painted by Raffaello and sent to King Fra