But to return to the stories: Giulio painted on one of the walls Constantine making an address to his soldiers; while in the air, in a splendour of light, appears the Sign of the Cross, with some little boys, and letters that run thus: "In hoc signo vinces." And there is a dwarf at the feet of Constantine, placing a helmet on his head, who is executed with great art. Next, on the largest wall, there is the battle of horsemen which took place at the Ponte Molle, in which Constantine routed Maxentius. This work is worthy of the highest praise, on account of the dead and wounded that may be seen in it, and the various extravagant attitudes of the foot-soldiers and horsemen who are fighting in groups, all painted with great spirit; not to mention that there are many portraits from life. And if this scene were not too much darkened and loaded with blacks, which Giulio always delighted to use in colouring, it would be altogether perfect; but this takes away much of its grace and beauty. In the same scene he painted the whole landscape of Monte Mario, and the River Tiber, in which Maxentius, who is on horseback, proud and terrible, is drowning. In short, Giulio acquitted himself in such a manner in this work, that it has been a great light to all who have painted battle-pieces of that kind since his day. He himself learned so much from the ancient columns of Trajan and Antoninus that are in Rome, that he made much use of this knowledge for the costumes of soldiers, armour, ensigns, bastions, palisades, battering-rams, and all the other instruments of war that are painted throughout the whole of that Hall. And beneath these scenes, right round, he painted many things in the colour of bronze, which are all beautiful and worthy of praise. On another wall he painted S. Sylvester the Pope baptizing Constantine, representing there the very bath made by Constantine himself, which is at S. Giovanni Laterano at the present day; and he made a portrait from life of Pope Clement in the S. Sylvester who is baptizing, with some assistants in their vestments, and a crowd of people. Among the many attendants of the Pope of whom he painted portraits there, also from life, was the Cavalierino, who was very influential with His Holiness at that time, and Messer Niccolo Vespucci, a Knight of Rhodes. And below this, on the base, he painted a scene with figures in imitation of bronze, of Constantine causing the Church of S. Pietro to be built at Rome, in allusion to Pope Clement. There he made portraits of the architect Bramante and of Giuliano Lemi,[26] holding the design of the ground-plan of the said church, and this scene is very beautiful.