It is not possible to write of every detail in the works of this craftsman, wherein every least thing, although dumb, appears to have speech: save only of the bases executed below these pictures, with various figures of defenders and benefactors of the Church, and various terminal figures on either side of them, the whole being wrought in such a manner that everything reveals spirit, feeling, and thought, and with such a harmony and unity of colouring that nothing better can be conceived. And since the ceiling of that apartment had been painted by Pietro Perugino, his master, Raffaello would not destroy it, moved by respect for his memory and by the love that he bore to the man who had been the origin of the rank that he held in his art. Such was the greatness of this master, that he kept designers all over Italy, at Pozzuolo, and even in Greece; and he was for ever searching out everything of the good that might help his art. Now, continuing his work, he also painted a hall, wherein were some figures of the Apostles and other saints in tabernacles, executed in terretta; and there he caused to be made by Giovanni da Udine, his disciple, who has no equal in the painting of animals, all the animals that Pope Leo possessed, such as the chameleon, the civet-cats, the apes, the parrots, the lions, the elephants, and other beasts even more strange. And besides embellishing the Palace greatly with grotesques and varied pavements, he also gave the designs for the Papal staircases, as well as for the loggie begun by the architect Bramante, but left unfinished on account of his death, and afterwards carried out with the new design and architecture of Raffaello, who made for this a model of wood with better proportion and adornment than had been accomplished by Bramante. The Pope wishing to demonstrate the greatness and magnificence of his generous ambition, Raffaello made the designs for the ornaments in stucco and for the scenes that were painted there, and likewise for the compartments; and as for the stucco and the grotesques, he placed at the head of that work Giovanni da Udine, and the figures he entrusted to Giulio Romano, although that master worked but little at them; and he also employed Giovanni Francesco, Il Bologna, Perino del Vaga, Pellegrino da Modena, Vincenzio da San Gimignano, and Polidoro da Caravaggio, with many other painters, who executed scenes and figures and other things that were required throughout that work, which Raffaello caused to be completed with such perfection, that he even sent to Florence for pavements by the hand of Luca della Robbia. Wherefore it is certain that with regard to the paintings, the stucco-ornaments, the arrangement, or any of the beautiful inventions, no one would be able to execute or even to imagine a more marvellous work; and its beauty was the reason that Raffaello received the charge of all the works of painting and architecture that were in progress in the Palace.