At this time M. Pietro de' Massimi bought a chapel in the Trinita, with the vaulting and the lunettes painted and adorned with stucco, and the altar-piece painted in oils, all by Giulio Romano and Perino's brother-in-law, Giovan Francesco; and that gentleman was desirous to have it finished. In the lunettes were four stories of S. Mary Magdalene in fresco, and in the altar-piece in oils was Christ appearing to Mary Magdalene in the form of a gardener; and M. Pietro first caused a gilt frame of wood to be made for the altar-piece, which had a miserable one of stucco, and then allotted the walls to Perino, who, having caused the staging and the screen to be erected, set his hand to the work, and after many months brought it to completion. He made a design of bizarre and beautiful grotesques, partly in low-relief and partly painted; and he executed two little scenes of no great size, one on each wall, surrounding them with an ornament in stucco of great variety. In one scene was the Pool of Bethesda, with all the cripples and sick persons, and the Angel who comes to move the waters, the porticoes seen most beautifully foreshortened in perspective, and the movements and vestments of the priests, all painted with great grace and vivacity, although the figures are not very large. In the other, he painted the Raising of Lazarus after he had been dead four days, wherein he is seen newly restored to life, and still marked by the pallor and fear of death: and round him are many who are unswathing him, and not a few who are marvelling, and others struck with awe, besides which the scene is adorned with some little temples that recede into the distance, executed with supreme lovingness, as are also the works in stucco all around. There are likewise four very small scenes, two to each wall, and one on either side of the larger scene; in one of which is the Centurion beseeching Christ that He should heal with a word his son who is dying, in another Christ driving the traders from the Temple, in a third the Transfiguration, and in the last a similar scene. And on the projections of the pilasters within the chapel he painted four figures in the guise of Prophets, which, in their proportions, their excellence, and their beauty, are as well executed and finished as they could well be. In a word, the whole work was carried out with such diligence, and is so delicate, that it resembles miniature rather than painting. In it may be seen much charm and vivacity of colouring, and signs of great patience in its execution, revealing that true love which should be felt for art; and he painted this whole work with his own hand, although he had a great part of the stucco-work executed after his designs by Guglielmo Milanese, whom he had formerly had with him at Genoa, loving him much, and once even offering to give him his daughter in marriage. This Guglielmo, in reward for restoring the antiquities of the house of