Before this happened, however, he went to Naples and designed the architecture of the magnificent Palace at Poggio Reale for King Alfonso, with the beautiful fountains and conduits that are in the courtyard. In the city, likewise, he made designs for many fountains, some for the houses of noblemen and some for public squares, with beautiful and fanciful inventions; and he had the said Palace of Poggio Reale all wrought with paintings by Piero del Donzello and his brother Polito. Working in sculpture, likewise, for the said King Alfonso, then Duke of Calabria, he wrought scenes in low-relief over a door (both within and without) in the great hall of the Castle of Naples; and he made a marble gate for the castle after the Corinthian Order, with an infinite number of figures, giving to that work the form of a triumphal arch, on which stories from the life of that King and some of his victories are carved in marble. Giuliano also wrought the decorations of the Porta Capovana, making therein many varied and beautiful trophies; wherefore he well deserved that great love should be felt for him by that King, who, rewarding him liberally for his labours, enriched his descendants. Giuliano had taught to his nephew Benedetto the arts of tarsia and architecture, and something about working in marble; and Benedetto was living in Florence, devoting himself to working at tarsia, because this brought him greater gains than the other arts did. Now Giuliano was summoned to Rome by Messer Antonio Rosello of Arezzo, Secretary to Pope Paul II, to enter the service of that Pontiff. Having gone thither, he designed the loggie of travertine in the first court of the Palace of S. Pietro, with three ranges of columns, of which the first is on the lowest floor, where there are now the Signet Office and other offices; the second is above this, where the Datary and other prelates live; and the third and last is where those rooms are that look out on the court of S. Pietro, which he adorned with gilded ceilings and other ornaments. From his design, likewise, were made the marble loggie from which the Pope gives his benediction--a very great work, as may still be seen to-day. But the most stupendous and marvellous work that he made was the palace that he built for that Pope, together with the Church of S. Marco in Rome, for which there was used an infinite quantity of travertine blocks, said to have been excavated from certain vineyards near the Arch of Constantine, where they served as buttresses for the foundations of that part of the Colosseum which is now in ruins, perchance because of the weakening of that edifice.