ncis of
France, together with another picture, of S. Margaret, painted almost
entirely by Giulio after the design of Raffaello, who sent to the same
King the portrait of the Vice-Queen of Naples, wherein Raffaello did
nothing but the likeness of the head from life, and the rest was
finished by Giulio. These works, which were very dear to that King, are
still in the King's Chapel at Fontainebleau in France.

Working in this manner in the service of his master Raffaello, and
learning the most difficult secrets of art, which were taught to him by
Raffaello himself with extraordinary lovingness, before a long time had
passed Giulio knew very well how to draw in perspective, take the
measurements of buildings, and execute ground-plans; and Raffaello,
designing and sketching at times inventions after his own fancy, would
afterwards have them drawn on a larger scale, with the proper
measurements, by Giulio, in order to make use of them in his works of
architecture. And Giulio, beginning to delight in that art, gave his
attention to it in such a manner, that he afterwards practised it and
became a most excellent master. At his death, Raffaello left as his
heirs Giulio and Giovan Francesco, called Il Fattore, on the condition
that they should finish the works begun by him; and they carried the
greater part of these to completion with honour.

[Illustration: THE BATTLE OF CONSTANTINE

(_Detail, after the fresco by =Giulio Romano=. Rome: The Vatican_)

_Anderson_]

Now Cardinal Giulio de' Medici, who afterwards became Pope Clement VII,
took a site under Monte Mario at Rome, in which, besides a beautiful
view, there were running waters, with some woods on the banks and a
lovely plain which, running along the Tiber as far as the Ponte Molle,
formed on either side a wide expanse of meadowland that extended almost
to the Porta di S. Pietro; and on the highest point of the bank, where
there was a level space, he proposed to build a palace with all the best
and most beautiful conveniences and adornments that could be desired in
the form of apartments, loggie, gardens, fountains, groves, and other
things. Of all this he gave the charge to Giulio, who, undertaking it
willingly, and setting his hand to the work, brought that palace, which
was then called the Vigna de' Medici, and is now known as the Villa
Madama, to that condition which will be described below. Accommodating
himself, then, to the nature of the site and the wishes of t