Meanwhile, Giovanni had also made a beginning with four scenes, which follow in due order those mentioned above. In the first he painted the said Pope in S. Marco--which church he portrayed exactly as it stood--presenting his foot to Frederick Barbarossa to kiss; but this first picture of Giovanni's, whatever may have been the reason, was rendered much more lifelike and incomparably better by the most excellent Tiziano. However, continuing his scenes, Giovanni made in the next the Pope saying Mass in S. Marco, and afterwards, between the said Emperor and the Doge, granting plenary and perpetual indulgence to all who should visit the said Church of S. Marco at certain times, particularly at that of the Ascension of Our Lord. There he depicted the interior of that church, with the said Pope in his pontifical robes at the head of the steps that issue from the choir, surrounded by many Cardinals and noblemen--a vast group, which makes this a crowded, rich, and beautiful scene. In the one below this the Pope is seen in his rochet, presenting a canopy to the Doge, after having given another to the Emperor and keeping two for himself. In the last that Giovanni painted are seen Pope Alexander, the Emperor, and the Doge arriving in Rome, without the gates of which the Pope is presented by the clergy and by the people of Rome with eight standards of various colours and eight silver trumpets, which he gives to the Doge, that he and his successors may have them for insignia. Here Giovanni painted Rome in somewhat distant perspective, a great number of horses, and an infinity of foot-soldiers, with many banners and other signs of rejoicing on the Castle of S. Angelo. And since these works of Giovanni, which are truly very beautiful, gave infinite satisfaction, arrangements were just being made to give him the commission to paint all the rest of that Hall, when, being now old, he died.