ne with figures in imitation of
bronze, of Constantine causing the Church of S. Pietro to be built at
Rome, in allusion to Pope Clement. There he made portraits of the
architect Bramante and of Giuliano Lemi,[26] holding the design of the
ground-plan of the said church, and this scene is very beautiful.

On the fourth wall, above the chimney-piece of that Hall, he depicted in
perspective the Church of S. Pietro at Rome, with the Pope's throne
exactly as it appears when His Holiness chants the Pontifical Mass; the
body of Cardinals and all the other prelates of the Court; the chapel of
singers and musicians; and the Pope seated, represented as S. Sylvester,
with Constantine kneeling at his feet and presenting to him a figure of
Rome made of gold in the manner of those that are on the ancient medals,
by which Giulio intended to signify the dowry which that Constantine
gave to the Roman Church. In this scene Giulio painted many women
kneeling there to see that ceremony, who are very beautiful; a beggar
asking for alms; a little boy amusing himself by riding on a dog; and
the Lancers of the Papal Guard, who are making the people give way and
stand back, as is the custom. And among many portraits that are in this
work may be seen portraits from life of Giulio himself, the painter; of
Count Baldassarre Castiglioni, the author of the "Cortigiano," and very
much his friend; of Pontano and Marullo; and of many other men of
letters and courtiers. Right round the Hall and between the windows
Giulio painted many devices and poetical compositions, which were
pleasing and fanciful; and everything was much to the satisfaction of
the Pope, who rewarded him liberally for his labours.

While this Hall was being painted, Giulio and Giovan Francesco,
although they could not meet the demands of their friends even in part,
executed an altar-piece with the Assumption of Our Lady, a very
beautiful work, which was sent to Perugia and placed in the Convent of
the Nuns of Monteluci. Then, having withdrawn to work by himself, Giulio
painted a picture of Our Lady, with a cat that was so natural that it
appeared to be truly alive; whence that picture was called the Picture
of the Cat. In another picture, of great size, he painted a Christ being
scourged at the Column, which was placed on the altar of the Church of
S. Prassedia at Rome. And not long after this, M. Giovan Matteo Giberti,
who was then Datary to Pope Clement, and afterwards became Bisho