Lives of the Most Excellent Painters, Sculptors, and Architects/Giulio Romano

by Giorgio Vasari

 

THE PAINTER, GIULIO ROMANO.^[1]

[born 1492—died 1546.]

Among the many, nay, rather, the innumerable scholars of Raphael of Urbino, although the greater part of them became able artists, there was none who pursued the footsteps of the master more closely, whether as regarded manner, invention, design, or colouring, than Giulio Romano; nor was there any one among them who was better versed in the principles of art, of bolder genius, richer fancy, or more varied and abundant resources;^[2] to say nothing at the present moment of his pleasing conversation, his cheerful and obliging disposition, his graceful demeanour, or the propriety of his deportment, qualities for which he was so much beloved by Raphael, that he could scarcely have been more so had he been a son of his own. Whence it happened, that on all occasions of especial importance, it was of Giulio’s services that Raphael constantly availed himself, and this was more particularly the case in the works undertaken by the divine master for Pope Leo X.^[3] in the papal Loggie. The designs for the architectural details for the ornaments, and for the pictures, were prepared by Raphael, but he then made Giulio Romano execute several of these pictures, as for example, the Creation of Adam and Eve, that of the Animals, the Building of Noah’s Ark, the Sacrifice, and many other works, which are known by the manner; among others that of the Daughter of Pharaoh, who, with her women, discovers Moses in his ark of bulrushes, when he has been thrown into the river by the Hebrews: a work considered admirable for the beauty of a landscape, which is very finely executed therein.

Giulio Romano assisted Raphael in the painting of many things in that apartment of the Torre Borgia wherein is the Conflagration of the Borgo, more particularly the basement, which is painted in colours to imitate bronze, and where Giulio depicted figures of the Countess Matilda, King Pepin, Charlemagne, Godfrey de Bouillon, King of Jerusalem, and other benefactors of the church; these are all works of great merit, and no long time since there were published engravings of parts thereof, executed after a design made by Giulio himself. He also depicted the larger portion of the stories in fresco which adorn the loggia of Agostino Chigi, and worked much upon a most beautiful picture in oil of Sant’ Elizabetta, which Raphael had prepared for the purpose of sending the same to Francis King of France; with another picture of Santa Margareta,^[4] which was almost entirely painted by Giulio Romano, after the design of Raphael, who sent a portrait of the Vice-Queen of Naples to the same monarch, whereof he had but taken the likeness of the head from the life, all the rest being executed by Giulio.^[5] These pictures, which were exceedingly welcome to that sovereign, are still in France, at Fontainebleau that is to say, in the chapel of the king.

Proceeding thus in the service of Raphael his master, and acquiring a knowledge of the most intricate difficulties of his art, which were taught to him by Raphael with the utmost affection and solicitude, Giulio soon became well able to draw perfectly in perspective, to measure edifices and take plans of buildings, Raphael frequently designing and sketching certain inventions, after his own fashion, which he would then leave to Giulio, to the end that the latter might complete them on an enlarged scale, and with the exact measurement and proportions, so that they could afterwards be used by the master in his architectural undertakings. In these last-mentioned labours more particularly, Giulio Romano soon began to take great delight, and devoted his attention thereto in such sort, that, when at a later period he exercised the vocation of the architect, he proved himself to be a very excellent master. After Raphael’s death, therefore, and when Giulio and Giovan-Francesco, called Il Fattore, being left his heirs, were charged with the office of completing the works commenced by Raphael, it was by Giulio Romano that the greater part of the same were creditably conducted to perfection. Now, the Cardinal Giulio de’ Medici, who was afterwards Pope Clement VII., had about that period taken possession of a piece of ground at Rome, which was situate beneath the Monte Mario, and where, in addition to a beautiful view, there was a fine running stream, with richly wooded banks in some parts, and at others an agreeable extent of plain, running along the shore of the Tiber, as far as the Ponte Molle;^[6] on each side of the river moreover, there was a range of meadow lands stretching almost to the Gate of San Pietro. Cardinal Giulio therefore resolved to erect a palace on the highest point of the shore, where there was a level space, well suited to that purpose; proposing to furnish his new building with all the beauties and conveniences of fine apartments, gardens, loggie, fountains, groves, and every other embellishment that could be devised; the charge of the whole being given to Giulio. Very willingly did the latter put hand to that work, and in due time he completed the palace, (which was then called the Vigna de’ Medici, but is now known as the Madama,^[7]) bringing it to that perfection of which we shall discourse at more length below.

The principal front, in pursuance of the desire of the Cardinal, and to accommodate the building to the site, was constructed in the form of a half circle, after the manner of a theatre, with an alternation of niches and windows of the Ionic order, which was so beautiful that many believer! the first sketch to have been made by Raphael himself,^[8] and that the structure was but continued and brought to its conclusion by Giulio. That artist then executed numerous paintings in the apartments and other portions of the building, more particularly in a most beautiful Loggia, which passes behind the first vestibule, and is decorated all around with niches, large and small, wherein are vast numbers of ancient statues; among others was formerly a Jupiter of great value, hut this was afterwards sent by the Farnese family, with many other beautiful statues, to the King Francis of France. In addition to those statues, the Loggia in question is also richly adorned with stucco-work, the walls and ceilings being likewise decorated with arabesques and grottesche by the hand of Giovanni da Udine.^[9] And at the head of the same is a fresco painted by Giulio himself, and representing Poliphemus, a figure of immense size, with a vast number of children and little satyrs sporting around him. The master obtained high commendation for this group, as he did indeed for all the works designed and executed by him at that palace, which he adorned with fountains, grottoes, groves, fish-ponds, ornamental pavements, and other decorations of similar kind, all executed with the most perfect order and judgment.

It is indeed true, that on the death of Pope Leo, the work was discontinued for the time, seeing that when Pope Adrian had been chosen Pontiff, and the Cardinal de’ Medici returned to Florence, this fabric was left neglected, with all the other public buildings commenced by Adrian's predecessor. But Giulio, in the meantime, employed himself, with GiovanFrancesco, in the completion of different works left unfinished by Raphael, and those artists prepared themselves to execute a portion of the Cartoons, which their master had designed for the great hall of the palace, and wherein he had himself commenced the painting of four stories from the life of the Emperor Constantine; nay, at the moment when he died, Raffaello had covered one side of the hall with the proper groundwork for painting on it in oil. The two disciples, nevertheless, soon perceived that Adrian, as a man who cared neither for paintings, sculptures, nor any other good work, had no mind to see these pictures finished, and they were discouraged almost to desperation, seeing that they themselves, with Perino del Vaga, Giovanni da Udine, Bastiano Veniziano, and many other excellent artists, were all, during the life of Adrian, but little better than dying with hunger.

But as it pleased God, while all the court, accustomed to the splendours and liberalities of Leo, were dismayed and bewildered, and the best of the artists were beginning to consider where they might seek a refuge for the abilities which they saw to be no longer prized;—as it pleased God, I say, Adrian died,^[10] and the Cardinal Giulio de’ Medici, who took the name of Clement VII., was created High Pontiff in his room. On that day the arts of design, together with all the other arts, were recalled to new life, and Giulio and Giovan Francesco set themselves joyfully to work, by command of the Pontiff, to finish the above-named hall of Constantine. The preparation of grounding which had been made for painting in oil they threw down; leaving nevertheless two figures, which Raphael had previously painted in oil as a sort of ornamental frame-work to certain popes: these were a figure of Justice, and another figure of similar character.^[11] The compartments of this hall had been designed with great judgment by Raphael, who had carefully kept in view the fact that it was somewhat deficient in height: over all the doors he had designed niches with decorations of children holding the various devices of the house of Medici, lions, lilies, diamonds, plumes, and other emblems used by that family.

In each of these niches was seated the shaded figure of a Pope in pontifical robes, and around these figures were angels represented by groups of children, and holding books and other appropriate objects in their hands, each pope had moreover a figure presenting a virtue on each side of him, and between whom he sat, these being selected as was deemed befitting the character and deserts of the Pontiff, as for example Religion was placed on one side of the apostle Peter, and Charity or Piety on the other, and thus of all, each was accompanied by his appropriate virtues; and the Popes thus represented were, Damarus I., Alexander I., Leo III., Gregory, Silvester, and some others. These figures were all exceedingly well executed by Giulio, who performed all the best parts of this work in fresco, and took extraordinary pains therewith, as may be seen in a drawing of the San Silvestro, admirably designed by his own hand, and which is perhaps a more graceful work than the finished picture of the same. It may indeed be affirmed, that Giulio always expressed his thoughts more effectually in drawings than in execution, or in the finished pictures, the former displaying more life, power, and feeling, a fact that may have arisen from the circumstance, that the drawing was executed at a sitting, and while he was well warmed with his subject, while over the paintings he sometimes consumed months and even years, insomuch that they became wearisome to him; the glowing inspiration and ardent love which is felt at the commencement of a work were then wanting, whence it is not to be wondered at, if he did not in such a case impart to the painting all that perfection which had been promised by the design.

But to return to the stories. In one of the compartments of the Hall of Constantine, Giulio depicted that Emperor making a speech to his soldiers, while in the air above is seen the sign of the cross appearing in a splendour of light, surrounded by angels in the form of children and with the words, “In hoc Signo vinces.” A Dwarf, standing at the feet of Constantine, and placing a helmet on his head, is executed with much art.^[12] On the principal or largest façade there is the battle of Cavalry at the Ponte Molle,^[13] where Maxentius was routed by Constantine: this work is considered to be one of great merit for the treatment of the dead and wounded, the variety and appropriate characterof the attitudes given to the different groups of foot and horse, seen fighting in different parts of the combat, and all very powerfully rendered. There are besides many portraits from the life in this work, and if the picture were not too much darkened, and too heavily loaded with shadows, of which Giulio was ever profuse in his colouring, it would have been altogether perfect, but this darkness takes from the work much of its grace and beauty.^[14] In the painting here in question, there is a landscape representing the entire declivity of Monte Mario, with the river Tiber, through which Maxentius is swimming his horse, in a bold and fierce attitude; Giulio has, in short, acquitted himself in such a manner throughout this picture, that all the artists who have succeeded him have found the work a great light and valuable assistance for battles of similar kind. He had himself meanwhile acquired much knowledge from the study of Trajan’s pillar, of the column of Antonine, and of other antique pillars which exist in Rome, and of which he availed himself largely for the dresses of the soldiers, and for the arms, ensigns, bastions, stoccades, battering-rams, and other engines of war, examples of which are to be seen depicted over every part of that Hall. Beneath these stories, and in colour to imitate bronze, the master then depicted various subjects, all of which are beautiful and praiseworthy productions.^[15]

On the other side our artist painted Pope Silvester baptizing Constantine, and here he represented the very baptistery which is now at San Giovanni Laterano and was erected by Constantine himself. Here we have the Pontiff, Clement VII. also, taken from the life and represented as Pope Silvester, with numerous assistants in their priestly vestments, and a large body of the people. Among the many attendants of the Pope here taken from nature, was the little Cavalier Messer Niccolo Vespucci, Knight of Rhodes, who was at that time all-powerful with his Holiness. Beneath this story, and in the basement, Giulio painted a group to imitate bronze, the subject presenting the Emperor Constantine, engaged in the building of the church of San Pietro at Rome, and alluding to Pope Clement: in this part of the work are the architect Bramante and Giuliano Lemi,^[16] the latter 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,”^[17] 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.^[18] 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 so life-like that the picture is always called the painting of the Cat.^[19] In another picture, which was of large size, our artist depicted Christ bound to the column and scourged; this was placed on the altar of the church of Santa Prassedia, at Rome.^[20] No long time after the completion of this work, Messer Giovan Matteo Giberti, who was at that time Datary to Pope Clement, and afterwards became bishop of Verona, caused Giulio, who was his frequent associate and intimate friend, to prepare a design for certain apartments which were built of brick, in the immediate vicinity of the papal palace: they looked on the Piazza di San Pietro, being intended for the reception of the trumpeters, who sound the trumpets while the cardinals are proceeding to the concistory, and are furnished with a very commodious means of ascent, a stair namely, which could be mounted on horseback as well as on foot.^[21]

For the same Messer Giovan Matteo, Giulio likewise painted a picture of the Stoning of St. Stephen; this work Messer Giovan Matteo sent to a benefice which he had at Genoa, and which was called St. Stephen. The invention and composition of this painting are alike beautiful and graceful, the young man Saul is seen seated by the garments, while the Jews are engaged in the martyrdom of the saint. Giulio Romano never executed a more admirable painting than this, the fierce attitudes and expression of the persecutors are rendered equally well with the patience of the martyr, whose look, which is turned upward, is such, that he truly appears to see the Saviour Christ seated at the right hand of the Father, in a Heaven which is indeed most divinely painted. This picture, with the benefice to which it was sent, Messer Giovan Matteo presented to the monks of Monte Oliveto, who have turned the latter into a monastery.^[22]

For the German, Jacob Fugger, the same artist painted an exceedingly beautiful picture in oil, to be placed in a chapel of the church of Santa Maria dell’ Anima in Rome. The subject of the work is Our Lady with Sant’ Anna, San Giuseppe, San Jacopo, San Giovanni as a child, and San Marco Evangelista, kneeling with a lion at his feet: the animal is holding a book and the hair on his body is turned in accordance with the position he has taken, a very difficult and well-considered thing; he has besides wings on his shoulders, and the plumage of these wings is so downy and soft, that one scarcely comprehends how it is possible for the hand of the artist to produce so close an imitation of nature. There is likewise a building of a circular form and decorated in the manner of a theatre, with statues so beautiful in themselves and so well arranged, that nothing better could be seen. There is a woman moreover who is spinning, and is at the same time looking at a hen with her chickens; nothing can be more natural than this figure. Above Our Lady, are hovering, angels in the form of children, they hold a canopy over her head and are exceedingly graceful and beautiful. This picture also, having been too heavily loaded with dark tints has become excessively dark, but for which it would be indeed most admirable.^[23] The black has however caused the labour of the master to be almost entirely lost, for although it has been covered with varnish, this black nevertheless destroys the best qualities of the work, having in it a consuming dryness, whether it be from charcoal, burnt ivory, lamp-black, or burnt paper. Cortona,^[24] and Benedetto Pagni of Pescia,^[25] but those of whose services the master most frequently availed himself, were Giovanni da Lione and Raffaello dal Colle of Borgo-a~ San Sepolcro, both of whom assisted him in the execution of the pictures in the Hall of Constantine as well as in that of many of the other works whereof there has been discourse. Wherefore, I do not think it well to omit mentioning, that being very skilful in painting, and close imitators of the manner of Giulio in the execution of all which he confided to them, these two artists painted an Escutcheon of the arms of Pope Clement, at the Old Mint in the Banchi, each painting the half namely after the design of Giulio, with two figures in the manner of Termini. Raffaello dal Colle moreover no long time after, having terminated his share of this work, depicted a fresco, from a Cartoon designed by Giulio, within the door of the palace which belongs to the Cardinal della Valle. This work which is in a lunette, represents Our Lady covering the divine Child, who is sleeping, with a mantle: on one side is St. Andrew the apostle, and on the other St. Nicholas, the picture was with justice considered an exceedingly fine one.

Giulio himself meanwhile, living on very intimate terms with Messer Baldassare Turini of Pescia, received from him the commission to prepare a design and model for a palace to be constructed on the mount Janiculum, where there are certain vineyards which have a most beautiful view. This building was erected with the utmost care, and was a very graceful structure; it was furnished with all the conveniences which could possibly be desired to enhance the pleasantness of that site, of which it was entirely worthy, and more than that could not be said. The rooms moreover were adorned not only with stucco-work, but also with paintings, Giulio having painted with his own hand stories from the life of Numa Pompilius, who had been buried there.^[26] In the bath of this palace Giulio painted pictures of Venus and Cupid. and of Apollo and Hyacinth, all of which are published in engravings.^[27]

After Giulio had separated himself entirely from GiovanFrancesco, he undertook various architectural works in Rome, as for example, the design for the house of the Alberini in Banchi, although some believe that the plan of this work is due to Raphael himself. Giulio likewise designed a Palace which is on the piazza of the Dogana in Rome, and this, being considered very beautiful, has, for that reason, been engraved. He also built a house for himself at one corner of the Macello de’ Corbi, where stood that in which he was born. The principal range of windows is very beautiful, and, however small this building, it is, nevertheless, a very graceful one. The excellent qualities of Giulio causing him to be esteemed the best artist in Italy, after the death of Raphael, the Count Baldassare Castiglione, who was then in Rome as ambassador from Federigo Gonzaga, Marquis of Mantua, and was the intimate friend of Giulio, as we have said, did his utmost, by prayers and promises, to prevail on that master to accompany him to Mantua, Baldassare having been commanded by the Marquis, his master, to send him an architect,^[28] of whose services he might avail himself, whether for his own palace, or the necessities of the city, and having moreover observed that it would be particularly agreeable to him if he could have Giulio. The latter, thereupon, declared at length that he would certainly go, provided they could obtain the permission of the Pope; and the desired licence being secured, Baldassare, who was returning to Mantua, thence to proceed as ambassador from the Pope to the Emperor, took Giulio with him to that city.

Arrived in Mantua, he was presented by Castiglione to the Marquis, who, after a most amicable reception, caused him to be given a dwelling very honourably appointed, with a liberal stipend^[29] and a table, not for himself only, but for his disciple, Benedetto Pagni, and for another youth, who likewise served him;^[30] nay, what is more, the Marquis sent him several yards of silk, velvet, and other cloths for pieces of clothing; and being informed that Giulio possessed no horse, , he caused a favourite horse of his own, called Ruggieri, to be brought, which he immediately presented to the painter. Thus, mounted on this new gift, our artist then rode forth in company with the Marquis himself, by whom he was conducted to a place without the walls, and at about a bow-shot from the gate of San Bastiano, where his Excellency had a place with some stables, called the T,^[31] situated in the midst of meadows, and where he kept his breeding stud. Arrived here, the Marquis observed, that without destroying the old walls he would be glad to have a little space arranged to which he could occasionally resort for amusement, and to take a dinner or supper for his recreation.

Having heard the will of the Marquis, Giulio examined the whole place, and taking a plan of the site, set hand to the work. He availed himself of the old walls, and in the principal extent of the space at his disposal, erected the first hall which is seen on entering, with the series of apartments to be observed on each side thereof: and as there is no stone on the place, nor any quarries whence materials for carved ornaments or hewn stone could be excavated, such as are used in masonry by all who can obtain them, our artist contented himself with bricks and similar substitutes for stone, which he afterwards covered with stucco, and from these materials he made columns, bases, capitals, cornices, doors, windows, and other requisites to a finished fabric, all with the most beautiful proportions and decorations, in a new and fanciful manner, more particularly as regarded the vaultings. The distribution also was remarkably good, and the vestibules were very richly adorned; all which induced the Marquis to change his purpose, and from a small beginning, he determined that the whole edifice should be arranged after the manner of a great palace.

Giulio thereupon constructed a most beautiful model, the outer walls, as also the interior towards the court-yard, being in the rustic manner, all which pleased the Marquis so greatly, that having ordered a good provision of money to be made, and numerous builders being assembled by Giulio, the work was brought to a conclusion with great promptitude, and the form of that structure was on this wise:^[32] The building is a rectangle with an open court in the centre, which is rather like a meadow or public square, into which open four ways in the form of a cross; one conducts into a very wide and extensive Loggia, whence another entrance leads into the gardens, while two others open into various apartments, all which are decorated with stucco-work and paintings. In the hall to which the first of these doors gives entrance, is a ceiling divided into numerous compartments, and the walls are adorned with portraits of all the most beautiful and most valued blood-horses of the Marquis, with those of his dogs also; the latter being of the same colour and having the same marks with the horses,^[33] and each having his name depicted with his portrait. All these portraits were designed by Giulio, and painted in fresco on the plaster by Benedetto Pagni^[34] and Rinaldo of Mantua,^[35] both painters who were his disciples; and these animals are in truth so well portrayed that they seem to be alive.

From this hall we proceed to a room which forms an angle of the palace, and the vaulting of which is beautifully divided into compartments by stucco-work; the cornices also are beautifully varied, and in some places are heightened with gold. The whole surface is divided by these compartments into four octangular spaces which surround a painting occupying the highest part of the vaulted ceiling and representing the Marriage of Cupid and Psyche in the presence of all the gods, Jupiter himself being seen in the summit of the picture seated in a dazzling splendour of celestial light. This story is such that it would not be possible to discover anything more admirably designed, or executed in a more graceful manner: the foreshortenings of those figures in particular have been managed with so much judgment that although some of them are scarcely a braccio in length, they have nevertheless the appearance as seen, from the floor below, of being three braccia high, they are indeed executed with marvellous art and ingenuity, the master having found means to produce such effect that they seem to be alive (so much relief has he given them), and with the truthfulness of their appearance they pleasantly deceive the eye that regards them. In the octangles are the principal events in the history of Psyche,^[36] with the sufferings which she endured from the anger of Venus, all executed with the same beauty and perfection: the angles of the windows exhibit numerous Loves, which are distributed according to the space at the disposal of the artist; the whole ceiling being painted in oil by the above-named Benedetto and Rinaldo. The remainder of the pictures from the history of Psyche are on the walls beneath and are painted in fresco, they are much larger than those on the ceiling. In one of these stories is Psyche in the Bath; she is surrounded by the Loves who are gracefully laving her beautiful limbs; near this is another picture, where, with gestures equally graceful, the Loves are drying the delicate form.^[37] In another part of the work is Mercury preparing the banquet, while Psyche takes her bath; the Bacchantes are sounding musical instruments, and the Graces are busied in the decoration of the table, which they adorn with flowers. Silenus is sustained upon his ass by Satyrs, and near him is a Goat suckling two children; Bacchus is also present with two Tigers at his feet; he is leaning on the credenza or beaufet with one arm, and on one side of this table is a Camel, on the other an Elephant: the decorations of the credenza, which is of a coved shape, and forms a half-circle, being of festoons, foliage, and fruits intertwined; it is furthermore covered with vines laden with grapes, which throw their leaves and tendrils over three ranges of fancifully-shaped vases, goblets, beakers, and cups of the most fantastic and varied forms, all shining in such a manner that they appear to be of veritable silver and gold; the imitation being nevertheless effected by means of a simple yellow and some other colours only, but so admirably done that they bear ample testimony to the genius, talent, and art of Giulio, who proved himself in this part of the work to be gifted with the richest powers of invention and the most varied resources in art.

At no great distance from this picture is seen Psyche in the midst of a group of women, who serve, attend, and present her;^[38] and here we have Phoebus in the distance, rising from between the hills^[39] in his solar chariot, which is drawn by four horses, while Zephyr lies nude amidst fleecy clouds, breathing soft airs from a cornicle, which he has in his mouth, and wherewith he renders the atmosphere around the form of Psyche cheering and agreeable. These stories were engraved not many years since after the designs of Battista Franco of Yenice, who copied them exactly as they had been painted by Benedetto of Pescia and by Rinaldo of Mantua, who followed the great cartoons of Giulio, and by whom all the stories were executed, with the exception of the Bacchus, the Silenus, and the Two Children suckled by the Goat. It is true, that the work was afterwards almost wholly retouched by Giulio, whence it is very much as it might have been had it been entirely executed with his own hand. And this mode of proceeding, which he had derived from Raphael his master, is exceedingly advantageous to the disciple, who obtains much practice thereby, and thus becomes in his turn a good master. It is true, that the student sometimes persuades himself to believe his own powers superior to those of him by whom he should be guided, but if perchance he should lose this guidance, and be deprived too early of the design and direction of the master, before he has attained the due end of his labours, and has acquired firmness in design, and facility in execution, such disciple too often finds that he has been wasting his efforts, and has but involved himself in a sea of errors, amidst the infinite vastness of which he wanders as do the blind.

But let us return to the apartments of the T. From this room of the Psyche we pass into another, with double friezes, and decorated with figures in basso-rilievo, executed in stucco after the designs of Giulio, by Francesco Primaticcio of Bologna,^[40] who was then but a youth; and by Giovanni Battista of Mantua.^[41] In these friezes are seen all the variously clothed and armed bands of the Soldiers on the column of Trajan at Rome, faithfully copied and executed in a very beautiful manner.^[42] Among the decorations of the ceiling in one of the ante-rooms, is a painting in oil, representing Icarus^[43] instructed by his father Dtedalus in the art of flying, but who, after he has seen the sign of the crab and the chariot of the sun drawn by four horses, which are finely foreshortened—when he is approaching the sign of the lion, that is to say—is left without his wings, the heat of the sun having melted the wax wherewith they were fastened; near this is another picture, in which he is seen again, but now plunging down from the heights, and with so precipitous a descent, that to the spectator below he appears to be on the very point of falling upon him. The face of Icarus is pale as that of a corpse, and the whole composition is so admirably worked out, that it appears to be the reality itself; the effect of the sun’s heat, as it destroys the wings of the unhappy youth, is rendered palpable to sight; the kindling fire is seen to give out smoke, one almost hears the crackling of the burning plumes, and while the agony of death appears upon the face of Icarus; the suffering and grievous sorrow of Dasdalus are written in characters equally legible on his countenance. In our book we have the design of this most beautiful picture by Griulio’s own hand.

In the same place our artist painted stories characteristic of the twelve months of the year, describing in all the occupations in which men most frequently employ themselves during each; a work which is no less remarkable and pleasing for the beautiful and fanciful invention displayed therein than for the judgment and care of its execution. Having passed the great Loggia with its decorations in stucco, the numerous arms and other fanciful ornaments, with which it is adorned, we arrive in apartments so rich in a thousand various fantasies that the mind is overwhelmed and becomes confounded amidst them. Original and ingenious as he was, Griulio desired here to display all his resources; and in a part of the palace which forms an angle corresponding with that wherein is the above-described room of the Psyche, he determined to construct an apartment, of which the masonry should be accommodated to the requirements of the painting, thereby the more effectually to deceive the eye of the spectator. Having first secured this angle, therefore, which was on a marshy soil, by means of double foundations of great depth, he caused a large circular chamber to be erected; giving extraordinary thickness to the walls, to the end that the four external angles of the same might have all the strength required for the support of a double vaulting, which he proposed to make in a round form, like that of an oven or* furnace. This done, he caused the doors, windows, and mantelpiece of the room to be formed in rustic masonry, purposely constructed so much out of square, and set together in so disjointed and distorted a fashion, that they really appeared to be leaning on one* side, and seemed as if they must of necessity fall into the room. The apartment being thus constructed in a manner so unusual, Giulio set himself to paint therein the most extraordinary inventions that he could possibly devise; the subject chosen was Jupiter launching his thunderbolts at the Giants, and having depicted the Olympian Heaven in the highest part of the vaulting, he there placed the Throne of Jove, foreshortened, as seen from below; showing also the front and interior of a round temple, with columns of the Ionic order: the God has a canopy midway over his seat, and his eagle is beside him, all which the master displayed as borne on the clouds. Lower down he has depicted Jupiter in anger hurling his thunder-bolts at the Giants, with Juno still further down, who is assisting him. Around them are the Winds, represented by the most extraordinary visages, blowing towards the earth, while the Goddess Ops turns away with her Lions at the terrible clamour of the thunders, as do the other gods and goddesses, more particularly Venus, who is beside Mars, and Momus, who, with his arms cast wide apart, appears to be expecting that heaven itself shall fall asunder, but stands nevertheless immoveable, awaiting the result.^[44]

The Graces are seen in like manner equally filled with dread, and all the gods in short, seized with terror, take to flight, each in his chariot. The Moon, Saturn, and Janus turn towards that part of the heavens which is least involved in darkness, as if to remove themselves as far as possible from that horrible tumult and terror, as does Neptune, who, with his dolphins, appears trying to maintain himself on his trident, while Pallas, with the nine muses, stands watching the fearful event that is taking place before them, as questioning what so dreadful an occurrence may portend. Pan embraces, with supporting arms, a nymph who is trembling with fear, he seems anxious to shelter her from those lightning-flashes and that conflagration with which the heavens are filled. Bacchus and Silenus, with the Satyrs and Nymphs, betray the utmost horror and anxiety; Yulcan with his ponderous hammer on his shoulder is turning his looks towards Hercules, who is speaking with Mercury of the passing event: near these is Pomona with a terror-struck aspect, a similar appearance is presented by Vertumnus and the other gods, who are dispersed over heaven. But whether in those who fly or those who stay, all the effects of fear are rendered with so much force, that it is not possible, I do not say to see, but to imagine, a more admirable composition in painting than this is.

In the lower part, on the walls that is to say, are the Giants, some of whom, those namely who are nearest to Jupiter, have mountains and enormous rocks on their backs, these they support on their powerful shoulders, proposing to make a pile wherewith to scale the heavens, where their ruin is preparing, where Jupiter is thundering, where all the denizens of heaven are kindled with anger against them, and where the whole assembly appears not only to have a sense of terror at the rash presumption of those giants on whom it is casting mountains, but as if apprehensive that the whole world was in uproar and coming to an end. In this lower part of the painting, Giulio has also depicted Briareus in a dark cavern almost covered with enormous masses of rock, with other giants lying crushed and some dead beneath the ruins of the mountains. Through the cleft of another dark cave in the distance, moreover, and which is managed with infinite judgment, there are seen other giants in full flight, struck by the thunderbolts of Jove, they seem also on the point of being crushed, as are the others, beneath the ruins of the mountains. In another part of the picture also, are still more giants, on whom are falling temples, columns, and other fragments of buildings, making an immense slaughter and destruction of those proud assailants of the gods.^[45] It is amidst these falling ruins that the fire-place of the apartment is placed, and when fire is lighted therein the giants are seen as if burning amidst the flames. Here the master has depicted Pluto in his chariot; drawn by meagre bare-boned horses, and, accompanied by the Furies, he is flying towards the centre: the artist never departing from the purpose he had proposed to himself in any portion of the picture; by this invention of the fire for example, he gave an appropriate as well as beautiful character to his chimneypiece; and the same may be said of every other part of the painting.^[46]

To render his work still more fearful and terrible, Giulio has exhibited many of the giants, who are of the most extraordinary forms, as well as of immense stature, in the act of falling to the earth, some backwards, others on their faces, as they are differently struck and wounded by the lightnings and thunder-bolts; some are already dead, others writhing with their wounds, and still more lying crushed and partially covered by the mountains and edifices which have fallen upon them. Wherefore let none believe that he could ever behold any work of the pencil better calculated to awaken fear and horror, or more truly natural and life-like, than that before us; nay, whosoever enters that chamber and sees all the doors, windows, and other parts, constructed as they areawry, and as it were on the point of falling with the buildings, and even the mountains tumbling around in ruin, cannot fail to be in doubt whether all be not about to topple down upon him, and the rather as he sees the very gods in heaven, some rushing here, and others there, but all taking to flight.^[47]

Another circumstance remarkable in this work is the fact, that it has neither beginning nor end; the whole is nevertheless well connected in all its parts, and continued throughout unbroken by division or the intervention of frame-work or decorations, so that all the objects which are near the buildings appear to be of great size, while those at a distance and scattered about the landscapes^[48] seem to diminish gradually, until they become lost amidst infinite space. Whence this apartment, which is not more than fifteen braccia long, has rather the appearance of a wide tract of country. The flooring also is formed of small round stones, the similitude of which is continued in painting on the commencement of the upright walls, so that the separation of the floor and walls is not too apparent; there are no sharp angles, and the level of the country there represented is thus made to seem of great extent; all this was put into execution and finished with the most profound art and the highest perfection of judgment, by the master, to whom all those who are occupied with our arts owe much gratitude for these singular inventions.^[49]

By the practice obtained in this work, the above-named Rinaldo Mantovano was rendered a distinguished painter, since it was by him that the whole was conducted and brought to completion^[50] after the cartoons of Giulio Romano.^[51] He worked in the other apartments also, and if this artist had not been so early taken from the world, he would doubtless have obtained honour for himself after the death of Giulio, as he did honour to the instructions of that master while he lived. After having completed the palace of the T, in which Giulio executed many other works, all worthy of commendation, but respecting which I remain silent, desiring to avoid too much prolixity;—after completing this structure, I say, this master reconstructed from the ground up many apartments in the palace which the Duke inhabited at Mantua, erecting two very broad spiral staircases also, and adorning numerous chambers with rich decorations in stucco. In one of the halls of the palace in Mantua^[52] moreover, this artist painted the whole history and events of the Trojan War;^[53] and in one of the ante-chambers he painted twelve stories in oil, beneath the twelve heads of the Emperors which had previously been depicted there by Titian of Vecelli, works which were held in the highest estimation.^[54]

At Marmiruolo likewise, a place distant about five miles from Mantua, there was a very commodious building erected after the design and under the direction of Giulio, and which was adorned by him with large pictures,^[55] no less beautiful than are those of the palace in Mantua and that of the T. The same master furthermore depicted a figure of Our Lady in a painting in oil executed for the chapel of the Signora Isabella Buschetta, in the church of Sant’ Andrea in Mantua: the Madonna is in the act of adoring the Infant Jesus, who is lying on the earth, Joseph with the Ass and an Ox are seen near the manger, which is close by, and on one side is San Giovanni Evangelista, with San Longinus on the other. Both these figures are of the size of life.^[56] On the walls of the same chapel, Giulio further caused Rinaldo to paint two very beautiful pictures after his own designs; one of these represents the Crucifixion of Our Saviour Christ, with the Two Thieves; in the air above are Angels, and beneath are the Executioners, with the Maries and many Horses, in which Giulio always delighted greatly, and which he rendered admirably well, making them beautiful to a marvel: there are numerous Soldiers also in finely varied attitudes. The second picture executed in this chapel by Rinaldo, after Giulio’s design, is that Discovery of the Blood of Christ which was made in the time of the Countess Matilda, and this picture also is a very beautiful work.^[57]

For the Duke Federigo, Giulio painted a picture with his own hand, the subject is Our Lady washing the Infant Christ, who stands upright in a basin, while San Giovanni, also a child, is pouring water from a vase; these two figures, which are of the size of life, are both very beautiful.^[58] In the distance are seen small figures representing Women who are approaching to visit the Madonna. This picture was afterwards presented by the Duke to the Signora Isabella Buschetta, whose portrait, which is a very beautiful one, was taken by Giulio in a little picture not more than a braccio high, which is now in the possession of the Signor Vespasiano Gonzaga, with another, presented to him by the Duke Federigo and also by the hand of Giulio, representing a Youth affectionately caressing a maiden, while an old woman is secretly observing them from behind a door; the figures in this work are somewhat less than the size of life, and are very gracefully depicted.^[59] Another and most admirable picture by Giulio, in possession of the same person, is a figure of San Jeronimo, and is one of extraordinary beauty and merit. A picture of Alexander the Great, holding the figure of Victory in his hand, and very finely painted by Giulio Romano, is now in the possession of the Count Niccolo Maffei; the figure is of the size of life, it is copied from an ancient medal, and is very beautiful.

After the completion of these works, Giulio painted a fresco over a chimney-piece for his friend Messer Girolamo, the Organist of the cathedral at Mantua. The subject of this work is Vulcan working his bellows with one hand, while with the other he holds between a pair of tongs the iron of an arrow which he is forging; Venus is near him, and is tempering in a vase the arrows already formed, which she then places in the quiver of Cupid.^[60] This is one of the most beautiful works ever executed by Giulio, from whose hand there are indeed but few paintings in fresco to be found.^[61] In a picture, painted by commission for Messer Ludovico da Fermo and intended for the church of San Domenico, Giulio represented the Saviour Christ dead, and about to be prepared for the tomb by Joseph and Nicodemus; near them is the Virgin Mother, with the other Maries, and San Giovanni Evangelista. Another small picture, wherein our artist likewise depicted the Dead Christ, is now at Venice in the house of the Florentine Tommaso da Empoli.

Now, it happened about the time when Giulio was occupied with these and other pictures that the Signor Giovanni de’ Medici, having been wounded by a musket ball, was carried to Mantua, where he died. Then Messer Pietro of Arezzo, who had been a most devoted servant of that Signor and was a fast friend of Giulio’s, desired that, thus dead as he was, the latter would make his portrait. Our artist took a cast from the face accordingly, and from this he executed a likeness which remained for many years in the possession of the above-named Messer Pietro.^[62]

When the Emperor Charles V. arrived in Mantua,^[63] Giulio made many magnificent preparations for his reception by order of the Duke: these consisted of arches, perspective scenes for dramatic representations, and various matters of similar kind, in the invention of which Giulio Romano never had his equal, for never was there any man who, in the arrangement of masquerades, or the preparation of extraordinary habiliments for jousts, festivals, and tournaments, displayed fancy and variety of resource such as he possessed: this was acknowledged with astonishment and admiration at the time by the Emperor Charles, and by as many other persons as were present. Besides all these things Giulio Romano prepared numerous designs at different periods for the city of Mantua: chapels, houses, fronts of palaces,^[64] gardens, all were constructed and arranged by his hand, and so much pleasure did he find in adorning and embellishing that city, that whereas he had first found it buried in mud, with the streets full of foetid water, and even the houses sometimes scarcely habitable from the same cause, he brought the whole to such a condition that it is now dry, healthy, and agreeable; all which is attributable to the labours of Giulio Romano.

While our artist was thus in the service of the Duke of Mantua, it happened in a certain year, that the river Po burst its bounds and inunda-ted the city to such a degree that in the lower parts of the town the waters attained the height of nearly four braccia, so that, in those places frogs were found almost all the year round for a very long time. Giulio thereupon set himself to consider how this evil was to be remedied; and first of all he took measures whereby the river was forced back within its original bounds; next, and to the end that no such event should occur again, he caused the streets at that quarter of the town to be raised, by command of the Duke, until their height surpassed that of the river, and the houses then erected in that district were thus elevated above the reach of the waters. There had previously been nothing more than small, slightly built, and unimportant dwellings in those parts, but the Duke now commanded that the whole should be brought into better order; and demolishing these houses to raise the level of the streets, he caused much larger and more commodious buildings to be erected on the site, thereby increasing the beauty and contributing to the convenience of the city. It is true that many opposed themselves to this measure, complaining to the Duke that Giulio was making too much destruction, but Federigo would not hear any of these men; on the contrary, he appointed Giulio inspector of roads, and gave orders that no building should be erected in the city without his consent and advice.

Enraged at this, many repeated their complaints, while some threatened the master with violence; but this coming to the ears of the Duke, he used such words in speaking of Giulio that all perceived his favour to be very great, and became aware of the fact that whatever might be done to his injury or displeasure would be reputed as done to Federigo himself, and recompensed accordingly. The Duke was indeed so well disposed towards Giulio, for the sake of his abilities, that he was unwilling to lose sight of him; and the master, on his part, returned that favour with so much reverence towards the Duke, that words could not sufficiently describe it. Wherefore Giulio never requested a favour either for himself or others, that he did not obtain it, and it was found at his death that the amount he had received from that Prince had made an income of not less than a thousand ducats.

Giulio Romano built a house for himself in Mantua, and opposite to the church of San Barnaba, the front of this he adorned with a fantastic decoration of coloured stuccoes, causing it at the same time to be painted and adorned with stucco-work within; here he arranged the numerous antiquities which he had brought from Rome, with others which he had received from the Duke, to whom he gave many of his own instead.

This artist produced so many designs both in Mantua and for other places, that their amount appears incredible, but, as we have said, there could be no palace or other building of importance erected, more especially within the city of Mantua, unless it were constructed after a design from him. He rebuilt the church of San Benedetto in Mantua, a very large and rich edifice belonging to the Black Friars, situate on the old walls, and near the river Po: after his designs also was the whole church embellished and adorned with beautiful pictures and fine paintings in fresco.

The works of Giulio Romano were in very high repute throughout Lombardy likewise, insomuch that the bishop of Yerona, Giovanni Matteo Giberti, desired to have the tribune of the cathedral of that city decorated entirely after designs prepared by that master, and painted by the Veronese artist II Moro, as we have related elsewhere.^[65] For the Duke of Ferrara, Giulio likewise made designs for tapestry and cloth of arras, these were afterwards executed in silk and gold by the Flemings, Maestro Niccolo and Giovan Battista Rosso: copper-plate engravings from them being also published by Giovanni Battista of Mantua, by whom a large number of the works produced by Giulio were engraved. Among others were three battle-pieces which were likewise engraved by other artists, with a picture of a physician, who is applying cupping-glasses to the shoulders of a woman, and the flight of Our Lady into Egypt, with Joseph leading the Ass by the bridle, and angels bending down the branches of a date-tree, thereby enabling the Divine Child to gather the fruits thereof.

The same engraver executed other works after the designs of Giulio Romano, the Wolf namely suckling Romulus and Remus on the shores of the Tiber, with four stories of Pluto, Jupiter, and Neptune, who are dividing the heavens, the earth, and the sea among them by lot. Giovan Battista likewise engraved the picture of the Goat Alfea,^[66] which is held by Melissa, and gives nourishment to the Infant Jupiter, as he did also a very large plate representing men in prison, and who are subjected to various kinds of torments. The plate which represents Scipio and Hannibal addressing their armies on the shore of the river, was in like manner engraved after a design by Giulio, as was also the birth of San Giovanni Battista, which was engraved by Sebastiano del Reggio, with many others engraved and published in Italy. In Flanders also and in France many plates have been engraved from the designs of Giulio, but of these, however beautiful they may be, it does not need that we should now make mention, nor would it be easy to enumerate all his designs, seeing that he produced them, so to speak, in loads; let it suffice to say that he had such extraordinary facility in all works of art, but more particularly in design, that there is no memorial of any artist who has performed more numerous works than himself.

Giulio Romano was a man of very extensive cultivation, he spoke well on all subjects, but more particularly was he acquainted with all that related to medals, for which, and in the acquirement of knowledge respecting them, he expended large sums of money as well as much time. He was almost always occupied with some great and important work; but would nevertheless not refuse to set his hand to the most trifling matter, when the object was to do service to his lord or give pleasure to his friends; and the speaker had scarcely opened his mouth to express the wish formed or the thought conceived, before Giulio had comprehended his purpose, nay, had designed the object desired. Among the many valuable things which he had in his house was the likeness of Albert Diirer, drawn from the life on exceedingly fine linen by the hand of Albert himself, by whom it was sent, as we have before related, as a gift to Raphael. This portrait was a very extraordinary work painted in water colours with extreme care, and Albert had finished it without the use of any white, having used the white of the linen itself for the high lights; and in the exceedingly fine and subtle threads of this texture, he had so delicately rendered the hairs of the beard, that it was a thing which cannot even be fully imagined, much less imitated, and being held up to the light it shone through, and was seen on both sides. This portrait, which was held as a most precious possession by Giulio, was shown to me by himself as a kind of miracle, when I once went during his life-time for my affairs to the city of Mantua.

When the Duke Federigo died, Giulio Romano, who had been much favoured by that prince, nay, beloved by him more than words could express, was so deeply grieved that he would have left Mantua, if the Cardinal, the brother of the Duke, on whom the government of the state had devolved, because his children were very young, had not retained him in that city; persuading him to abide where he had a wife and children, and possessed houses and villas, with every other means of enjoyment that needs to be demanded by the richest nobleman. And to this the Cardinal was induced by the wish he felt to avail himself of the counsels and aid of Giulio Romano in the project which he was then meditating of restoring, nay, almost of rebuilding the whole fabric of the cathedral of Mantua. The master accordingly consented to set hand to that work in which he made considerable progress, imparting a very beautiful form to the fabric.^[67]

About the same time Giorgio Vasari, who was on the most friendly terms with Giulio, although they knew each other by fame and letters only—Giorgio Vasari, I say, being on his way to Venice, took the road by Mantua, for the purpose of there visiting Giulio and seeing his works. Arrived there, 54 LIVES OF THE ARTISTS. the above-named Giorgio went to seek the friend whom he had never yet seen, but the moment they met, these two knew each other no less or otherwise than they might have done if they had associated personally a thousand times before. And herein Giulio found so much pleasure and enjoyment, that for four days he never separated himself from Giorgio, to whom he showed all his works, but more especially the ground-plans of all the ancient edifices in Rome, Naples, Pozzuolo, the Campagna, and every other example of the most noble antiquities of which there is knowledge, part of which were made by himself and part by others. He then opened an immense press or wardrobe, and laid before his guest all the plans of the various buildings which had been erected after his own designs, and under his direction, not in Mantua and Rome only, but in various places throughout all Lombardy; and these were so beautiful that, for my own part, 1 do not believe it would be possible to imagine buildings that should display more originality of invention, greater convenience in the arrangement, or a richer fancy in decoration.

The Cardinal afterwards inquired of Giorgio what he thought of Giulio’s works, when Giorgio replied, Giulio being present, that he thought them such as to be of opinion that the artist had deserved to see a statue of himself erected at every corner of the city. It is indeed certain, that since Giulio had renewed the very existence of that place, and restored a large portion of it to a state of splendour, even this would not have sufficed adequately to reward him for his cares and labours. To Giorgio’s remark the Cardinal replied, that Giulio was in fact more completely master of that state than he was himself. This master was of a most obliging disposition, more particularly towards his friends; there was no mark of kindness, and even of affection, which Giorgio did not receive at his hands; and Vasari, on his part, having departed from Mantua, and proceeding to Venice, had thence returned to Rome exactly at the time when Michelagnolo had uncovered his Last Judgment in the chapel, sent Giulio three plates of the Seven Mortal Sins, taken from the above-named Last Judgment of Michelagnolo.^[68] These were conveyed to Giulio by Messer Nino Nini of Cortona, Secretary to the above-mentioned Cardinal of Mantua, and were beyond measure welcome to the artist, not only for themselves, and as being what they were, but also because he had at that time to paint a chapel in the palace for the aforesaid Cardinal, and these works served to awaken in his mind the idea of greater and higher things than he had before conceived the thought of producing. Giving all his powers, therefore, to the preparation of the cartoon, and using the utmost diligence, for that work he composed a very finely-imagined picture of Peter and Andrew called by Christ from their nets, and preparing to follow him, to the end that they might no longer be seekers of fishes, but might become fishers of men. This cartoon, which proved to be the most beautiful one ever prepared by Giulio, was afterwards executed by the painter Fermo Gusoni, then the disciple of Giulio, and now an excellent master.^[69]

No long time after these things, the superintendents to the building of San Petronio in Bologna, desiring to commence the principal front of that church, contrived, after great efforts, to prevail on Giulio Romano to repair thither, and the master went accordingly, in company with a Milanese architect, called Tofano Lombardino, a man greatly esteemed at that time in Lombardy, for the many buildings there to be seen from his hand. These masters, therefore, having made numerous designs, those of the Sienese Baldassare Peruzzi having been lost; one among them, which had been prepared by Giulio, was found to be so beautiful and well-ordered that it received, as it well merited, the highest commendations from that people, and the master received very liberal presents on his return to Mantua.

Now in those days the architect Antonio Sangallo died in Rome, and the superintendents of San Pietro found themselves in no small embarrassment, not knowing towards whom to turn themselves, or on what master they might devolve the charge of conducting so great a fabric to its conclusion, after the manner already commenced. None appeared to them better fitted for that office than Giulio Romano, with whose admirable qualifications they were all acquainted, and who, as they believed, would accept the charge more than willingly, for the purpose of honourably reinstating himself in his own country, and that with a large income. They consequently caused him to be questioned on the subject by several of his friends, but in vain, for although he would himself have agreed to this proposal with the utmost readiness, two things withheld him from doing so—the opposition of the Cardinal, who would on no account permit him to leave Mantua, and that of his wife with her kindred and friends, who discouraged the idea of his removal by all the means in their power.

It is true, that neither of these two obstacles might have been sufficient to restrain him, had he been in perfect health, seeing that his conviction of the great advantage that must needs be secured to himself and his children from the acceptance of so honourable an appointment, had fully disposed him to accept it; he was indeed prepared to make every effort that might induce the Cardinal to refrain from offering impediments to his purpose, when his malady began to give evidence oj. aggravation. It was in fact decreed from on high, that he was no more to visit Rome, and that this was to be the final termination of his days: thus, between vexation and sickness, his life departed, and he died after the lapse of a few days, in Mantua, which city might, nevertheless, have permitted that, as he had embellished her, so he might also have adorned and done honour to his own native city of Rome.

Giulio died in his fifty-fourth year,^[70] leaving one male child only, to whom he had given the name of Raphael, for the love which he bore to the memory of his master. But this youth had scarcely acquired the first principles of art, in which he gave promise of becoming an able master, when he also died:^[71] this happened not many years after the death of his father, as did also the decease of his mother, the consort of Giulio. There then remained of the artist no other descendant than a daughter called Virginia, who is now the wife of Ercole Malatesta, and still abiding in Mantua.

The death of Giulio Romano caused infinite grief to all who had known him; he received the rites of sepulture in San Barnaba, where it was intended that some honourable monument should be erected to his memory, but the wife and children deferring the execution of this purpose from day to day, have themselves for the most part departed from life, without having proceeded further in the matter. It is meanwhile to be regretted that in a city which he so richly adorned, there has been found no one to take count of his deserts, except at such times as they required his services, when they were ready enough to think of him: but the art from which he obtained so much honour in life has raised him a monument in his works which neither time nor the years shall have power to consume.

Giulio Romano was neither tall nor short of stature, was rather firmly than slightly built, had black hair, a pleasing countenance, the eyes dark and cheerful, of a kindly disposition and graceful deportment, regular in his life, frugal in eating, but fond of dressing and living in an honourable manner. He had a considerable number of disciples, but the most distinguished among them were Gian dal Lione, Raffaellino dal Colle of Borgo, Benedetto Pagni of Pescia, Figurino of Faenza,^[72] Rinaldo and Giovan-Battista of Mantua, and Fermo Guisoni, who is still living in Mantua, and does honour to his master, seeing that he is an excellent painter.^[73] The same may be said of Benedetto of Pescia, who has produced many works in his native city, with a picture for the Cathedral of Pisa, which is now in the house of the Wardens of works. Benedetto has likewise painted a picture of the Madonna, and this work gives proof of a truly poetical invention; the artist having represented a figure of Florence, who is presenting the dignitaries of the house of Medici to the protection of the Virgin. This work is now in the possession of the Signor Mondragone, a Spaniard, very highly favoured by the most illustrious Signor, the Prince of Florence.

Giulio died on the day of All Saints, in the year 1546, and over his tomb^[74] were placed the following lines:—

Romanus moriens secum tres Julius Arteis,
 Abstulit (hand mirum) quattuor unus erat.^[75]

---

1. The family name of Giulio Romano was Pippi.
2. Modern authorities are not in all cases willing to subscribe to the amount of praise bestowed by our author on Giulio Romano. See Kugler, Geschichte der Malerei; Platner and Bunsen, Beschreibung der Stadt Rom.; and others.
3. The paintings of the Loggia have been engraved in thirty plates by G. Ottaviani. It will be observed that in the life of Raphael Vasari has spoken of Giulio Romano as having worked but little in the Loggia.
4. Now in the Louvre. The St. Elizabeth has been engraved by Edelinck and by Jacob Frey; the St. Margaret by Desnoyers.
5. The portrait of Joanna of Arragon, Vice-Queen of Naples, is also in the Gallery of the Louvre. This work is among those engraved by Raphael Morghen.
6. The Milvian Bridge.
7. The building received the name of the Villa Madama from the Duchess Margareta Farnese. It is now the property of the Neapolitan crown. The exterior does not correspond with Giulio Romano’s sketch, nor has it even been completed.
8. In the Life of Raphael, Vasari plainly affirms this to have been the case. See vol. ii. p. 46.
9. Lanzi calls this artist Giovanni Ricamatore. See History, &c., vol. i. p. 395.
10. Our author, as it has been justly remarked, appears to forget that the protection of the fine arts is not the sole merit of a sovereign, but it must not be concealed that Adrian, who found the finances of the state previously disordered, by the profusion of his predecessors, commenced the reform of expenditure by first reducing that of his own household.
11. This figure has a Dove, and is believed by some to represent Humility; by others, Innocence or Clemency.
12. Gradasso Beretta da Norcia, the Dwarf of the Cardinal Hyppolito de’ Medici, celebrated for his ugliness by Berni, Opere Burlesche, vol. i. p. 42. This Dwarf, with the two noble Pages beside the Emperor, is an addition of Giulio’s, not being in the original design of Raphael, which is in the collection of the Duke of Devonshire.
13. Engraved by many of the older masters, and at a later period by Pietro Aquila, who copied the picture very closely. The original drawing was formerly in the possession of Malvasia, but afterwards fell into the hands of Crozat of Paris. See Felsina Pittrice, vol. iii. p. 522.
14. For which reason Mengs accuses Giulio Romano of having a naturally cold and hard taste.— Ed. Flor., 1832-8.
15. The chiari-scuri of this hall, as well as the other frescoes, were admirably engraved by Pietro Santi Bartoli.
16. Or Leno, named by Vasari in the Lives of Bramante and Marcantonio. The execution of this work is attributed by some authorities to Il Fattore.
17. Il Cortigiano, or the Courtier, was the title of a book whereby Castiglione proposed to teach the true method of becoming a perfect courtier, “useful to your prince, and worthy of the imitation of all other persons.”
18. Now in the Vatican.
19. The work is in the Museo Borbonicoat Naples. It has been engraved in outline by the younger Lasinio, in the publication which describes the above-mentioned gallery.
20. Now in the Sacristy of the Church of St. Praxida.
21. These rooms were demolished for the construction of the new buildings.—Bottari.
22. This was among the pictures taken to Paris, and would of itself suffice to establish the fame of Giulio Romano. It was struck by a canon ball during the Revolution, and the mouth of the saint received considerable Giulio had many disciples during the time that he was employed in the labours above described, and among them were Bartolommeo da Castiglione, Tommaso Paparello of injury, but the painting was afterwards carefully restored. It is now in the Church of San Stefano at Genoa. The Cartoon for this picture, formerly in the Vallicella Library in Rome, but afterwards transferred to the Vatican, has been engraved in outline by Guattani, and will be found in the collection of the most celebrated pictures of that Palace, which was published at Rome in 1820. See Tav. xix.
23. Now at the High Altar of the Church of Santa Maria dell’ Anima. Bottari tells us that the lower part of this picture was injured by an inundation of the Tiber, but that injuries still more cruel were inflicted on it by the cleaning and varnishes.
24. Förster affirms that “no independent work by these artists is to be found.”
25. This artist was also invited to Mantua by Giulio Romano.
26. This villa now belongs to the Borghese family.
27. In the Life of Marcantonio it has already been stated that the pictures of Apollo were engraved by that artist.
28. Gaye, Carteggio inedito d' Artisti, gives the letter written on this subject, by the Marquis to Castiglione, with the Count’s reply; the first bears date 29th August,.1524; the second 5th Sept, of that year.
29. From the books of the Massaria Vecchia, as cited by Bottari in a subsequent note, we find that this was not less than 500 gold ducats; a large »um for the period.
30. Two years after his arrival in Mantua, Giulio Romano received the rights of citizenship in that city. This honour was followed by that of elevation to the degree of a noble, and his appointment by the Marquis to the office of Vicario di Corte; and in 1529 we find him solemnizing his marriage with Helena, a daughter of the noble house of Guazzo-Landi, who brought him a dowry of 700 gold ducats. —Gaye, Beiträgen zur deutschen Uebersetzung des Vasari, Kunstblatt, 1838, No. 71.
31. Many affirm this palace to be so called, because the ground-plan is in the form of a T, but this letter is more probably the initial of the name only, as Tejetto, or Theyeto, since we find it sometimes written as Te, sometimes as The. —Ed. Flor., 1832-8.
32. Richardson gives a plan of this palace, but a very inaccurate one; a more satisfactory plan, with two elevations, one of the principal front, and one of a lateral portion of the building, will be found in a little work by the painter Carlo Bottari, “disteso dall' Avv. Volta” and entitled, Descrizione Storica delle Pitture del Regio-Ducale Palazzo del Te fuori della porta di Mantova detta Pusterla, Mantua, 1783, printed by Gius. Braglia, at the sign of the Virgil.
33. The portraits of these dogs, so curiously described as matching the horses in colour and marks, are not now to be found in these paintings. Vasari must therefore have merely seen the sketches of Giulio Romano, or if these dogs ever were thus depicted, they have since been cancelled, and the spaces covered with other subjects.
34. There are works of merit by this artist in his native city of Pescia.
35. This artist died young, but there are works by his hand in Mantua.
36. Many of these pictures were engraved by Diana Ghisi, of Mantua, and by Antonio Veneziano.
37. For more minute details see Cadioli, Descrizione di Mantova e dei suoi Contorni, Mantua, 1763. See also Bottari, Descrizione Storica, 1783, with Le Pitture di Giulio Romano nel Palazzo del T, fuori di Mantova, Mantua, 1831.
38. Engraved by Diana of Mantua, and dedicated to Claudio Gonzaga, in 1575.
39. In the engraving of Diana Ghisi above named, the car of the sun rises from the sea, and not from behind the hills.— Bottari.
40. Who repaired to Mantua for the purpose of studying under Giulio, in the year 1525, remaining there until 1531, when he became the disciple of Francia.
41. Mentioned in the Life of Marcantonio, see vol. iii. p. 511, et seq.
42. These friezes represent the triumphs of the Emperor Sigismund, by whom the grandfather of the then Marquis Federigo, Gio-Francesco Gonzaga namely, was declared Marquis of Mantua, in the year 1433. They are engraved by Pietro Santi Bartoli.
43. Bottari, Descrizione Storica, &c., calls this the fall of Phaeton.
44. Algarotti, Saggio sopra la Pittura, compares this work to a magic-lanthorn, but he had little admiration for Giulio Romano as a painter. Lanzi, on the contrary, considers that master to have rivalled Michael Angelo in the boldness of his design, and laments that this work has been so little respected by the audacious pencils of those who have pretended to restore it.
45. The part of this work containing the Battle of the Giants was engraved by Cornelius Bos.
46. The chimney was closed up, the fires made in it doing injury, by the smoke they threw out, to the pictures above. These were cleaned towards the year 1786 by the painter Carlo Bottani, the author of the Descrizione Storica, before cited.
47. Pietro Santi Bartoli gives eight engravings of the pictures in this room, but would seem to have copied from the Cartoons of Giulio Romano, since the engravings do not strictly follow the paintings, in which the master is known to have made several changes from the original designs.
48. According to Gaye, the Landscape in this work is by Fermo of Caravaggio.
49. Faciuoli of Mantua has sought to prove his countryman Rinaldo the author of these paintings, in a book entitled La Sala de' Giganti dimostrata invenzione ed opera di Rinaldo Mantovano; but Gaye, Carteggio inedito, has combated this opinion, the propriety of which he further questions in the Kunstblatt for 1838, No. 71.
50. The account of expenditure in the household of the Marquis for this period has the following item: — “1st March, 1532, to the painter Rinaldo, for the painting of a great chamber, which he undertook by command of our illustrious Lord, and also by that of the much to be honoured Giulio Romano, eight gold crowns, for his monthly payment.”
51. It will be remembered that in the document cited in the preceding note there is no word of the part taken by Giulio in the work, but in another place we find him observing that he had made the Cartoon for the painter, “to the intent that the latter might not lose time with the decorations.”
52. Gaye, Carteggio inedito d’Artisti, gives letters written on the subject of this work from Giulio Romano to the Marquis.
53. These works are in tolerable preservation.
54. The paintings of Giulio, as well as the Caesars by Titian, disappeared in the deplorable sack of Mantua, which took place in 1630. In one Hall of the Palace there are nevertheless still to be seen paintings attributed to this master; they represent the goddess Diana in various scenes oi her history.
55. This palace has been destroyed.
56. This work is now in the Louvre. It has been engraved by Louis Desplaces.
57. These frescoes are well preserved, and retain their place.
58. This fine work of the master is in the Royal Gallery of Dresden.
59. According to Förster this picture is now in the Royal Collection of Berlin, hut he considers it to be entirely undeserving of the praise bestowed on it.
60. There is a picture on this subject by Giulio Romano in the Louvre, which is among those engraved by Marco di Ravenna.
61. The Count D’Arco, Vita di Giulio Romano, affirms that no trace of this fresco is now to be found in Mantua.
62. The fate of this work is not known.
63. In the year 1530.
64. That of the Marchese Torelli for example, which he decorated with mythological paintings in fresco, many of which still exist, although the palace has been rebuilt. A description of these frescoes, with plates, was published in the year 1832.
65. In the additions to the Life of Fra Giocondo and Liberale, vcl. iii.
66. Jupiter suckled by the Goat Amalthea was engraved by Pietro Santi Bartoli.
67. The building commenced by Giulio was continued and completed some years after by the Mantuan architect, Gio-Battista Bertani, who adhered closely to the plans of his predecessor.
68. Bottari conjectures that these plates represented groups of souls condemned for the sins in question.
69. Of this picture, which afterwards passed into the cathedral of Mantua, there is now a modem copy only, by Felice Canapi, in that church. The original was taken to Paris in 1797, and has never been returned. A diminished copy made during Giulio’s life is now in the possession of the Signor Gaetano Susani of Mantua,—Count D’Arco, Vita di Giulio Romano.
70. Gaye, Kunstblatt for 1838, No. 73, cites a document from a public office in Mantua, whence it appears that there died “on the first of November, 1546, Il sior Julio romano di Pipi, superior de le Fabriche Ducale, de febra, infirmo giorno 15, morto di anni 47.” —“Julio Pippi of Rome, Intendant of the Ducal buildings, died after illness from fever oi fifteen days, at the age of forty-seven.” The Abate Zani remarks with justice that the age has here been most probably given after some inaccurate report; all the probabilities being in favour of the more advanced age assigned by Vasari.
71. According to Lanzi, whose authority was Camillo Volta, prefect of the Mantuan Museum, Raphael Pippi, the son of Giulio, attained his thirtieth year.
72. Figurino of Faenza, or Marc Antonio Rocchetti, Giulio Tonduzzi of Faenza may also be added to the list of Giulio’s disciples.
73. For details respecting these and other Mantuan painters, see the Monumenti Mantovani of Carlo D’Arco.
74. In the re-construction of the Church of San Bamaba all trace of this distinguished artist’s tomb has disappeared. The history of Giulio Romano is perhaps unique, observes Lanzi, for where besides will be found the man who after having erected so many grandiose and beautiful buildings, has then painted and adorned them with his own hands? See History of Painting (English edition), vol, ii. p. 331.
75. In the first edition this distich is preceded bv the following inscription:—

    “Videbat Juppiter corpora sculpta pictaque

    Spirare, et cedes mortalium cequarier Codo

    Julii virtute Romani: tunc iratus

    Concilio divorum omnium vocato

    Ilium e terris sustulit; quod paii nequiret,

    Vinci aut cequari ah homine terrigina.”