Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 4.djvu/40

32 holding the ground-plan of the church in his hand; an exceedingly meritorious picture.

On the fourth wall, and over the mantel-piece of the said Hall, is a view in perspective of San Pietro at Rome, with the canopy of the Pope, exactly as it appears when the holy father in his pontificals reads mass, the circle of Cardinals and all the other prelates in their robes; the whole court in short, with the chapel of choristers and singers, the Pope himself being seated and depicted as San Silvestro with Constantine kneeling at his feet. The Emperor presents a golden figure of Rome to the Pontiff, made after the manner of those on the ancient medals, and intended to signify the dowry, wherewith Constantine had invested the Roman church. In this picture there are many women regarding the ceremony in a kneeling position, they are exceedingly beautiful, as is likewise a child playing with a dog. A Beggar imploring alms is also very fine, and the Lancers of the guard, compelling the people to stand back and make place, as is customary, are figures full of spirit. Among the many portraits from the life which are to be found in this work, is one of the painter Giulio Romano himself, with that of his intimate friend Count Baldassare Castiglione, author of “the Cortigiano,” and those of Pontano, Murallo, and others, men of letters as well as courtiers. Around the Hall and between the windows, Giulio painted various devices and fantasies of very pleasing and graceful character, and the Pope, who was much pleased with every thing that he had done, rewarded him very liberally for his labours.

While this Hall was in process of execution, Giulio and Giovan Francesco, who were not able to satisfy the demands of their friends even in part, undertook to paint a picture of the Assumption of the Madonna for Perugia, to which city the work was despatched on its completion, being there placed in the convent of the nuns of Monteluci. This was a picture of great beauty. Having then withdrawn himseli entirely apart from Il Fattore, Giulio painted by himself a figure of Our Lady with a cat near her, and this animal was