unwilling to leave Florence, but the Duke, conversing with him one day, suddenly said: “Giorgio, I do not see how we are to escape from this going to Rome of thine; for as that is the first thing His Holiness has requested from me, I do not think I can refuse it; there are, besides, none of our people at the Papal Court, and the intercourse that thou wilt assuredly have with His Holiness cannot but be useful to us; wherefore, get thyself ready, and before the weather breaks up 1 will despatch thee to the Pope, writing to him that I think his using what belongs to me a great kindness, but that he must speedily send thee back, because we want to finish our Cupola. This winter, meanwhile, thou canst be preparing thy Cartoons for the same, and as to that Sala (Regia), since thy designs and cartoons are so far advanced, I cannot but think that it will soon be finished. Take a good number of assistants with thee, and get on rapidly, for the Pope is old, and interruptions may again ensue.”
Having arranged his domestic affairs, and finished a picture of Humanity and Divinity, the appropriate symbols for which were suggested to him by his friend and counsellor, Don Vincenzio Borghini, Giorgio departed for Rome, where he arrived on the 11th of November, and there found that Pope Gregory desired him to paint the Massacre of St. Bartholomew, which had taken place that same year, and under his own Pontificate. Vasari had but little inclination to recommence his labours, and would fain have given place to the other painters then in Rome; but, unable to refuse, he commenced this work also, which he divided into three Stories.[1] Duke Cosimo, meanwhile, was constantly urging the master to hasten his movements and return to him; when Giorgio, but too well accustomed to profit by his facility of hand, hurried through with all speed, and on the Corpus Domini of 1573, the Sala Regia was thrown open to public view. This work, which had been commenced by Paul HI., had successively occupied twelve painters,[2] who had employed twenty-eight years in its completion, which was ultimately effected by Vasari (the thirteenth master engaged therein), under the Pontificate of Gregory XIII.[3]
