he Cardinal,
he made the facade in the form of a semicircle, after the manner of a
theatre, with a design of niches and windows of the Ionic Order; which
was so excellent, that many believe that Raffaello made the first sketch
for it, and that the work was afterwards pursued and carried to
completion by Giulio. The same Giulio painted many pictures in the
chambers and elsewhere; in particular, in a very beautiful loggia beyond
the first entrance vestibule, which is adorned all around with niches
large and small, wherein are great numbers of ancient statues; and among
these was a Jupiter, a rare work, which was afterwards sent by the
Farnese family to King Francis of France, with many other most beautiful
statues. In addition to those niches, the said loggia is all wrought in
stucco and has the walls and ceilings all painted with grotesques by the
hand of Giovanni da Udine. At the head of this loggia Giulio painted in
fresco an immense Polyphemus with a vast number of children and little
satyrs playing about him, for which he gained much praise, even as he
did for all the designs and works that he executed for that place, which
he adorned with fish-ponds, pavements, rustic fountains, groves, and
other suchlike things, all most beautiful and carried out with fine
order and judgment.

It is true that, the death of Leo supervening, for a time this work was
carried no further, for when a new Pontiff had been elected in Adrian,
and Cardinal de' Medici had returned to Florence, it was abandoned,
together with all the public works begun by Adrian's predecessor. During
this time Giulio and Giovan Francesco brought to completion many things
that had been left unfinished by Raffaello, and they were preparing to
carry into execution some of the cartoons that he had made for the
pictures of the Great Hall of the Palace--in which he had begun to paint
four stories from the life of the Emperor Constantine, and had, when he
died, covered one wall with the proper mixture for painting in
oils--when they saw that Adrian, being a man who took no delight in
pictures, sculptures, or in any other good thing, had no wish that the
Hall should be finished. Driven to despair, therefore, Giulio and Giovan
Francesco, and with them Perino del Vaga, Giovanni da Udine, Sebastiano
Viniziano, and all the other excellent craftsmen, were almost like to
die of hunger during the lifetime of Adrian. But by the will of God,
while the Court, accustomed to the