it about
that the greater part of the work that is in it is lost or destroyed,
and that because black, even when fortified with varnish, is the ruin of
all that is good, always having in it a certain desiccative quality,
whether it be made from charcoal, burnt ivory, smoke-black, or burnt
paper.

Among the many disciples that Giulio had while he was executing these
works, such as Bartolommeo da Castiglione, Tommaso Papacello of Cortona,
and Benedetto Pagni of Pescia, those of whom he made the most particular
use were Giovanni da Lione and Raffaello dal Colle of Borgo a San
Sepolcro, both of whom assisted him in the execution of many things in
the Hall of Constantine and in the other works of which we have spoken.
Wherefore I do not think it right to refrain from mentioning that these
two, who were very dexterous in painting, and followed the manner of
Giulio closely in carrying into execution the works that he designed for
them, painted in colours after his design, near the old Mint in the
Banchi, the escutcheon of Pope Clement VII, each of them doing one-half,
with two terminal figures, one on either side of that escutcheon. And
the same Raffaello, not long after, painted in fresco from a cartoon
drawn by Giulio, in a lunette within the door of the Palace of Cardinal
della Valle, a Madonna who is covering the Child, who is sleeping, with
a piece of drapery, with S. Andrew the Apostle on one side and S.
Nicholas on the other, which was held, with justice, to be an excellent
picture.

Giulio, meanwhile, being very intimate with Messer Baldassarre Turini da
Pescia, built for him on Mount Janiculum, where there are some villas
that have a most beautiful view, after making the design and model, a
palace so graceful and so well appointed, from its having all the
conveniences that could be desired in such a place, that it defies
description. Moreover, the apartments were adorned not only with stucco,
but also with paintings, for he himself painted there some stories of
Numa Pompilius, who was buried on that spot; and in the bathroom of this
palace, with the help of his young men, Giulio painted some stories of
Venus, Love, Apollo, and Hyacinthus, which are all to be seen in
engraving.

After having separated himself completely from Giovan Francesco, he
executed various architectural works in Rome, such as the design of the
house of the Alberini in the Banchi (although some believe that the plan
of this work came from Raff