Having finished that work, which brought him little praise, Battista transferred himself by means of Bartolommeo Genga to the service of the Duke of Urbino, to paint a very large vaulting in the church and chapel attached to the Palace of Urbino. Having arrived there, he set himself straightway to make the designs according as the invention presented itself in the work, without giving it any further thought and without making any compartments. And so in imitation of the Judgment of Buonarroti, he depicted in a Heaven the Glory of the Saints, who are dispersed over that vaulting on certain clouds, with all the choirs of the Angels about a Madonna, who, having ascended into Heaven, is received by Christ, who is in the act of crowning her, while in various separate groups stand the Patriarchs, the Prophets, the Sibyls, the Apostles, the Martyrs, the Confessors, and the Virgins; which figures, in their different attitudes, reveal their rejoicing at the advent of that Glorious Virgin. This invention would certainly have given Battista a great opportunity to prove himself an able master, if he had chosen a better way, not only making himself well-practised in fresco-colours, but also proceeding with better order and judgment than he displayed in all his labour. But he used in this work the same methods as in all his others, for he made always the same figures, the same countenances, the same members, and the same draperies; besides which, the colouring was without any charm, and everything laboured and executed with difficulty. When all was finished, therefore, it gave little satisfaction to Duke Guidobaldo, Genga, and all the others who were expecting great things from that master, equal to the beautiful design that he had shown to them in the beginning; for, in truth, in making beautiful designs Battista had no peer and could be called an able man. Which recognizing, the Duke thought that his designs would succeed very well if carried into execution by those who were fashioning vases of clay so excellently at Castel Durante, for which they had availed themselves much of the prints of Raffaello da Urbino and other able masters; and he caused Battista to draw innumerable designs, which, when put into execution in that sort of clay, the most kindly of all that there are in Italy, produced a rare result. Wherefore vases were made in such numbers and of as many kinds as would have sufficed to do honour to the credence of a King; and the pictures that were painted on them would not have been better if they had been executed in oils by the most excellent masters. Of these vases, which in the quality of the clay much resemble the kind that was wrought at Arezzo in ancient times, in the days of Porsenna, King of Tuscany, the above-named Duke Guidobaldo sent enough for a double credence to the Emperor Charles V, and a set to Cardinal Farnese, the brother of Signora Vittoria, his consort. And it is right that it