No long time passed before Cardinal Emulio, to whom the Pope had given the charge of the matter, commissioned many young men, to the end that the work might be finished quickly, to paint the little palace that is in the wood of the Belvedere, which was begun in the time of Pope Paul IV with a most beautiful fountain and many ancient statues as ornaments, after an architectural design by Pirro Ligorio. The young men who worked (with great credit to themselves) in that place, were Federigo Barocci of Urbino, a youth of great promise, and Leonardo Cungi and Durante del Nero, both of Borgo San Sepolcro, who executed the apartments of the first floor. At the head of the staircase, which was made in a spiral shape, the first room was painted by Santi Titi, a painter of Florence, who acquitted himself very well; the larger room, which is beside the first, was painted by the above-named Federigo Zucchero, the brother of Taddeo; and the Sclavonian Giovanni dal Carso, a passing good master of grotesques, executed another room beyond it. But, although each of the men named above acquitted himself very well, nevertheless Federigo surpassed all the others in some stories of Christ that he painted there, such as the Transfiguration, the Marriage of Cana in Galilee, and the Centurion kneeling before Christ. And of two that were still wanting, one was painted by Orazio Sammacchini, a Bolognese painter, and the other by a certain Lorenzo Costa of Mantua. The same Federigo Zucchero painted in that place the little loggia that looks out over the fish-pond. And then he painted a frieze in the principal hall of the Belvedere (to which one ascends by the spiral staircase), with stories of Moses and Pharaoh, beautiful to a marvel; the design for which work, drawn and coloured with his own hand in a most beautiful drawing, Federigo himself gave not long since to the Reverend Don Vincenzio Borghini, who holds it very dear as a drawing by the hand of an excellent painter. In the same place, also, Federigo painted the Angel slaying the first-born in Egypt, availing himself, in order to finish it the quicker, of the help of many of his young men. But when those works came to be valued by certain persons, the labours of Federigo and the others were not rewarded as they should have been, because there are among our craftsmen in Rome, as well as in Florence and everywhere else, some most malignant spirits who, blinded by prejudice and envy, are not able or not willing to recognize the merits of the works of others and the deficiency of their own; and such persons are very often the reason that the young men of fine genius, becoming dismayed, grow cold in their studies and their work. After these works, Federigo painted in the Office of the Ruota, about an escutcheon of Pope Pius IV, two figures larger than life, Justice and Equity, which were much extolled; thus giving time to Taddeo, meanwhile, to attend to the work of Caprarola and the chapel in S. Marcello.