Then, having grown weary of the life in Venice, as one who remembered that of Rome, and considering that it was no place for men of design, Francesco departed in order to return to Rome. And so, making a detour by Verona and Mantua, in the first of which places he saw the many antiquities that are there, and in the other the works of Giulio Romano, he made his way back to Rome by the road through Romagna, and arrived there in the year 1541. There, having rested a little, the first works that he made were the portrait of Messer Giovanni Gaddi and that of Messer Annibale Caro, who were much his friends. Those finished, he painted a very beautiful altar-piece for the Chapel of the Clerks of the Chamber in the Pope's Palace. And in the Church of the Germans he began a chapel in fresco for a merchant of that nation, painting on the vault above the Apostles receiving the Holy Spirit, and in a picture that is half-way up the wall Jesus Christ rising from the dead, with the soldiers sleeping round the Sepulchre in various attitudes, foreshortened in a bold and beautiful manner. On one side he painted S. Stephen, and on the other side S. George, in two niches; and at the foot he painted S. Giovanni Limosinario, who is giving alms to a naked beggar, with a Charity on one side of him, and on the other side S. Alberto, the Carmelite Friar, between Logic and Prudence. And in the great altar-picture, finally, he painted in fresco the Dead Christ with the Maries. Having formed a friendship with Piero di Marcone, a Florentine goldsmith, and having become his gossip, Francesco made to Piero's wife, who was also his gossip, after her delivery, a present of a very beautiful design, which was to be painted on one of those round baskets in which food is brought to a newly-delivered woman. In that design there was the life of man, in a number of square compartments containing very beautiful figures, both on one side and on the other; namely, all the ages of human life, each of which rested on a different festoon appropriate to the particular age and the season. In that bizarre composition were included, in two long ovals, figures of the sun and moon, and between them Sais, a city of Egypt, standing before the Temple of the Goddess Pallas and praying for wisdom, as if to signify that on behalf of newborn children one should pray before any other thing for wisdom and goodness. That design Piero held ever afterwards as dear as if it had been, as indeed it was, a most beautiful jewel.