And in truth Antonio, who was a most excellent architect, deserves to be celebrated and extolled, as his works clearly demonstrate, no less than any other architect, whether ancient or modern.
GIULIO ROMANO
LIFE OF GIULIO ROMANO
PAINTER
Among his many, or rather innumerable, disciples, the greater number of whom became able masters, Raffaello da Urbino had not one who imitated him more closely in manner, invention, design, and colouring, than did Giulio Romano, nor one who was better grounded, more bold, resolute, prolific, and versatile, or more fanciful and varied than Giulio; not to mention for the present that he was very pleasant in his conversation, gay, amiable, gracious, and supremely excellent in character. These qualities were the reason that he was so beloved by Raffaello, that, if he had been his son, he could not have loved him more; wherefore it came to pass that Raffaello always made use of him in his most important works, and, in particular, in executing the Papal Loggie for Leo X; for after Raffaello had made the designs for the architecture, the decorations, and the scenes, he caused Giulio to paint many of the pictures there, among which are the Creation of Adam and Eve, that of the animals, the Building of Noah's Ark, his Sacrifice, and many other works, which are known by the manner, such as the one in which the daughter of Pharaoh, with her ladies, finds Moses in the little ark, which had been cast adrift on the river by the Hebrews—a work that is marvellous on account of a very well executed landscape. Giulio also assisted Raffaello in painting many things in that apartment of the Borgia Tower which contains the Burning of the Borgo, more particularly the base, which is painted in the colour of bronze, with the Countess Matilda, King Pepin, Charlemagne, Godfrey de Bouillon, King of Jerusalem, and other benefactors of the Church—all excellent figures; and prints of a part of this scene, taken from a drawing by the hand of Giulio, were published not long since. The same Giulio also executed the greater part of the scenes in fresco that are in the Loggia of Agostino Chigi; and he worked in oils on a very beautiful picture of S. Elizabeth, which was painted by Raffaello and sent to King Francis of France, together with another picture, of S. Margaret, painted almost entirely by Giulio after the design of Raffaello, who sent to the same King the portrait of the Vice-Queen of Naples, wherein Raffaello did nothing but the likeness of the head from life, and the rest was finished by Giulio. These works, which were very dear to that King, are still in the King's Chapel at Fontainebleau in France.
Working in this manner in the service of his master Raffaello, and learning the most difficult secrets of art, which were taught to him by Raffaello himself with extraordinary lovingness, before a long time had passed Giulio knew very well how to draw in perspective, take the measurements of buildings, and execute ground-plans; and Raffaello, designing and sketching at times inventions after his own fancy, would afterwards have them drawn on a larger scale, with the proper measurements, by Giulio, in order to make use of them in his works of architecture. And Giulio, beginning to delight in that art, gave his attention to it in such a manner, that he afterwards practised it and became a most excellent master. At his death, Raffaello left as his heirs Giulio and Giovan Francesco, called Il Fattore, on the condition that they should finish the works begun by him; and they carried the greater part of these to completion with honour.
