for he had erected a palace on the
Esquiline Hill, where he had a vineyard, without the Porta del Popolo,
and he desired that Pellegrino should execute some figures for him on
the facade, and then that he should paint the interior of a loggia
that faces towards the Tiber, which he executed with such diligence,
that it is held to be a work of much beauty and grace. In the house of
Francesco Formento, between the Strada del Pellegrino and the Parione,
he painted in a courtyard a facade and two figures besides. By order
of the ministers of Pope Julius III, he executed a large escutcheon,
with two figures, in the Belvedere; and without the Porta del Popolo,
in the Church of S. Andrea, which that Pontiff had caused to be built,
he painted a S. Peter and a S. Andrew, which two figures were much
extolled, and the design of the S. Peter is in our book, together with
other sheets drawn with much diligence by the same hand.

[Illustration: THE ADORATION OF THE SHEPHERDS

(_After the painting by =Pellegrino Tibaldi=. Vienna: Prince
Liechtenstein_)

_Hanfstaengl_]

Being then sent to Bologna by Monsignor Poggio, he painted for him in
his palace there many scenes in fresco, among which is one that is
most beautiful, wherein from the many figures, both nude and clothed,
and the lovely composition of the scene, it is evident that he
surpassed himself, insomuch that he has never done any work since
better than this. In S. Jacopo, in the same city, he began to paint a
chapel likewise for Cardinal Poggio, which was afterwards finished by
the above-mentioned Prospero Fontana. Being then taken by the Cardinal
of Augsburg to the Madonna of Loreto, Pellegrino decorated for him a
chapel most beautifully with stucco-work and pictures. On the
vaulting, within a rich pattern of compartments in stucco, are the
Nativity of Christ and His Presentation in the arms of Simeon at the
Temple; and in the centre, in particular, is the Transfiguration of
the Saviour on Mount Tabor, and with Him Moses, Elias, and the
Disciples. In the altar-piece that is above the altar, he painted S.
John the Baptist baptizing Christ; and in this he made a portrait of
the above-named Cardinal, kneeling. On one of the facades at the sides
he painted S. John preaching to the multitude, and on the other the
Beheading of the same Saint. In the forecourt below the church he
painted stories of the Judgment, and some figures in chiaroscuro in
the place where the Theatines n