large scenes; and, in truth, it is said that Emulio was acting with caution in the matter, for the reason that, hoping that Giuseppe Salviati would surpass all the others, he was minded to give him the rest, and perchance to throw to the ground all that might have been done by the others. Now, after all the men named above had carried their works well forward, the Pope desired to see them all; and so, everything being uncovered, he recognized (and all the Cardinals and the best craftsmen were of the same opinion) that Taddeo had acquitted himself better than any of the others, although all had done passing well. His Holiness, therefore, commanded Signor Agabrio that he should cause Cardinal Emulio to commission him to execute one of the larger scenes; whereupon the head-wall was allotted to him, wherein is the door of the Pauline Chapel. And there he made a beginning with the work, but he did not carry it any farther, for, the death of the Pope supervening, everything was uncovered for the holding of the Conclave, although many of those scenes had not been finished. Of the scene that Taddeo began in that place, we have the design by his hand, sent to us by him, in the book of drawings that we have so often mentioned. Taddeo painted at the same time, besides some other little things, a picture with a very beautiful Christ, which was to be sent to Caprarola for Cardinal Farnese; which work is now in the possession of his brother Federigo, who says that he desires it for himself as long as he lives. The picture receives its light from some weeping Angels, who are holding torches. But since the works that Taddeo executed at Caprarola will be described at some length in a little time, in discoursing of Vignuola, who built that fabric, for the present I shall say nothing more of them. Federigo was meanwhile summoned to Venice, and made an agreement with the Patriarch Grimani to finish for him the chapel in S. Francesco della Vigna, which had remained incomplete, as has been related, on account of the death of the Venetian Battista Franco. But, before he began that chapel, he adorned for that Patriarch the staircase of his Palace in Venice, with little figures placed with much grace in certain ornaments of stucco; and then he executed in fresco, in the above-named chapel, the two stories of Lazarus and the Conversion of the Magdalene, the design of which, by the hand of Federigo, is in our book. Afterwards, in the altar-piece of the same chapel, Federigo painted the story of the Magi in oils. And then he painted some pictures in a loggia, which are much extolled, at the villa of M. Giovan Battista Pellegrini, between Chioggia and Monselice, where Andrea Schiavone and the Flemings, Lamberto and Gualtieri, have executed many works.