The fame of Andrea having thereby grown greater, Leo X, who had resolved that the adornment with wrought marble of the Chamber of the Madonna in S. Maria at Loreto should be carried out, according to the beginning made by Bramante, ordained that Andrea should bring that work to completion. The ornamentation of that Chamber, which Bramante had begun, had at the corners four double projections, which, adorned by pillars with bases and carved capitals, rested on a socle rich with carvings, and two braccia and a half in height; over which socle, between the two aforesaid pillars, he had made a large niche to contain seated figures, and, above each of these niches, a smaller one, which, reaching to the collarino of the capitals of those pillars, left a frieze of the same height as the capitals. Above these were afterwards laid architrave, frieze, and richly carved cornice, which, going right round all the four walls, project over the four corners; and in the middle of each of the larger walls--for the Chamber is greater in length than in breadth--were left two spaces, since there was the same projection in the centre of those walls as there was at the corners; whence the larger niche below, with the smaller one above it, came to be enclosed by a space of five braccia on either side. In this space were two doors, one on either side, through which one entered into the chapel; and above the doors was a space of five braccia between one niche and another, wherein were to be carved scenes in marble. The front wall was the same, but without niches in the centre, and the height of the socle, with the projection, formed an altar, which was set off by the pillars and the niches at the corners. In the same front wall, in the centre, was a space of the same breadth as the spaces at the sides, to contain some scenes in the upper part, while below, the same in height as the spaces of the sides, but beginning immediately above the altar, was a bronze grating opposite to the inner altar, through which it was possible to hear the Mass and to see the inside of the Chamber and the aforesaid altar of the Madonna. Altogether, then, the spaces and compartments for the scenes were seven: one in front, above the grating, two on each of the longer sides, and two on the upper part--that is to say, behind the altar of the Madonna; and, in addition, there were eight large and eight small niches, with other smaller spaces for the arms and devices of the Pope and of the Church.